THE 

PASSION   PLA 


OF 


o 


DBERAMMERGAU 


O 

>* 


The  Passion  Play  of 
Oberammergau 


Uniform  with  this  Volume 

<£berpman:  51  amoral 

With  reproductions  of  sixteenth  century  wood 
cuts.     12mo,  boards,  $1.00 


of 

A  Christmas  Play.  Edited  from  old  moralities  b; 
Professor  Charles  M.  Gayley,  of  the  Universit; 
of  California.  Illustrated,  boards,  $1.25. 


Christus:  Anton  Lang 


The  Passion  Play  of 
Oberammergau 

TRANSLATED  FROM  THE  GERMAN  TEXT  WITH  AN 


Sntrobuctton 


BY 


MONTROSE  J.   MOSES 


NEW  YORK 

DUFFIELD   AND   COMPANY 
1310 


Copyright,  1909 
By  DUFFIELD  AND  COMPANY 


Published  November,  1909 


The  University  Press,  Cambridge,  U.  S.  A. 


To  my  Friend 
CHARLES   RANN   KENNEDY 


263773 


DRAMATIS    PERSONS    OF 
THE   PASSION   PLAY 


1890  1900 

Christas1 Joseph  Mayr  (1870-71-1880)    Anton  Lang 

Dealer  in  carved  goods  Potter 

Mary* Rosa  Lang Anna  Plunger 

Daughter  of  the  Burgomaster         Postman's  daughter 

Peter Jakob  Hett  (also  1870)      .     .  Thomas  Rendl 

Carver  Carver 

John6 Peter  Rendl Peter  Rendl 

Carver 

Judas* Johann  Zwink Johann  Zwink 

Artist-painter 

Philip Tobias  Zwink Tobias  Zwink 

Carver 

Thaddeus      ....  Joseph  Kurz Joseph  Kurz 

Roadmaker 

Simon Mart.  Hohenleittner     .     .     .  Mart.Hohenleittner 

James,  the  Elder    .     .  Andreas  Braun Mathias  Dedler 

Woodcarver  Carver 

James,  the  Less     .    .  Joseph  Klucker Benedikt  Klucker 

Thomas Andreas  Lang Anton  Mayr 

Carver 

Andrew Alois  Stadler Alois  Gerold 

Matthew Alois  Gerold Josef  Albrecht 

Carver 

Bartholomew    •     •     •  Martin  Albl Josef  Rutz 

Tailor 
Simeon,  of  Bethany  .  Gregor  Lechner 

1  Tobias  Plunger  (1850)  3  Johann  Zwink  (1870) 

a  Franziska  Plunger  (1870)  •  Gregor  Lechner  (1850-1880) 

[vii] 


1890  1900 

Lazarus Emanuel  Lang Otto  Lang 

Carver 
Magdalene    ....  Amalie  Deschler      ....  Bertha  Wolf 

Daughter  of  the  Tailor  Daughter  of  Hotelkeeper 

Martha Helene  Lang Marie  Schwalb 

Daughter  of  the  Tailor 

Veronika Elizabeth  Zundterer    .     .     .        

Pilate*- Thomas  Rendl  (also  1880)    .  Sebastian  Bauer 

Carver  Carver 

Caiaphas*     ....  Joh.  Ev.  Lang  (also  1860-       Sebastian  Lang 
Burgomaster  70-71-80)        Verger 

Annas3 Franz  Rutz,  Sr Martin  Oppenrieder 

Master-tailor 
Herod* Johann  Diemer Rochus  Lang 

Retired  Potter 

Nathanael    ....  Sebastian  Lang,  Jr. (also  1880)  Gregor  Breitsamter 

Carver 
Archilaus  Rabbi     ,     .  Sebastian  Bauer  (also  1880) .        

Carver 

Ezektet5 Rochus  Lang Rupert  Breitsamter 

Carpenter 
Sadok Sebastian  Deschler      .     .     .  Sebastian  Deschler 

Carver 
Josue Andreas  Wolf Andreas  Wolf 

Joiner 

Mereric Anton  Gastl 

Josaphat Anton  Schiestl 

Samuel G.  Sc  hall  hammer    .     .     .     .  G.  Schallhammer 

Carver 

Kabinth Eduard  Albl 

Nathan Franz  Paul  Lang    ....        

Dariabbas     ....  Johann  Lang,  Jr 

Joseph  of  Arimathaea®  Martin  Oppenrieder  Andreas  Braun 

Carver          (also  1880)  Carver       (1890) 

Nicodemus    ....  Franz  Steinbacher  (also  1880)  William  Rutz 

Master-dyer  Baker 

The  Centurion   .     .     .  Anton  Bartl 

Simon  of  Cyrene    .     .  Michael  Bauer 

1  Tobias  Plunger  (1870)  *  Franz  Paul  Lang  (1860-1870) 

2  Jacob  Mayr  (1830-1850)  B  Sebastian  Deschler  (1870) 
»  Sebastian  Deschler  (1880)  6  Thomas  Rendl  (1870) 

[  viii  ] 


1890  1900 

Ba.ra.bbas1    ....  Johann  Oswald 

Workman 
Thief  [to  right}  .     .     .  Anton  Lang Anton  Lang 

Mason 
Thief  [to  left]   .     .     .  Eduard  Bierling      ....  Eduard  Bierling 

Rabbi  [see  ArchUaus  Rabbi] Andreas  Lang 

Carver 

Prologue Joseph  Mayr 

Choragus Johann  Diemer  (1870) 

High  Priest  .  .  .  .  Modestus  Stickel  (1870) 
A  Pharisee  ....  Franz  Paul  Lang  ( 1890) 
Chief  of  the  Traders  .  Andreas  Mayr  (1890);  Melchior  Breitsamter  (1900) 

Carver 

"Genius"     .     .     .     .  Josepha  Plunger  (1870) ;  Jacob  Rutz  (1871) 
Leader  of  the  Chorus  .  Jacob  Rutz  (1880-1890) 

Quintus Sebastian  Lang  (1870) 

Roman  Captain  .  .  Anton  Bartl  (1880-1900) 
Director  of  the  Play  .  Johann  Lang 

Burgomaster 
DirectoroftheTableauxLudwigLang 

Director  of  the  Carving  School 

{Ferd.  Feldigl 
Teacher 
Eduard  Lang 

Dealer  in  Glass 
Chorus  Director .     .     .  Jacob  Rutz  (also  1880)     .     .  Johann  Diemer 

Smith  (1870) 

Jewish  Boy  ....  Herbert  Lang  (1900)    .     .     . 

CHORUS  (1890) 

Soprano  Alto 

Josepha  Breitsamter  Crescenz  Bierling 

Luzie  Lang  Antonia  Albl 

Aloisia  Mayr  Maria  Lutz 

Regina  Wolf  Magdalena  Kopf 

Maria  Samm  Johanna  Keller 

Ludovica  Gindhart  Josepha  Steidle 

Anna  Korntheuer  Crescenz  Klamer 

i  J.  Allinger  (1880) 
[ix] 


Tenor  Bass 

Otto  Anderl,  Assistant  Teacher  Anton  Lutz 

Anton  Lechner  Joseph  Gabler 

Dominikus  Schilcher  Korbinian  Rutz 

Alois  Lang  Otto  Mangold 
Korbinian  Christa 


,  [This  is  not  a  complete  list  of  players ;  it  is  given  in  such  form  that  the 
reader  may  judge  of  two  essential  characteristics  of  the  cast :  First,  from 
decade  to  decade  the  actors  are  shifted  to  different  roles ;  and  second,  cer- 
tain families  in  Oberammergau  predominate  over  others  in  the  assignment 
of  parts.  Nearly  seven  hundred  villagers  appear  in  the  Passion  Play.] 


INTRODUCTION 


INTRODUCTION 

I 

THE  Oberammergau  Passion  Play  is 
a  survival  rather  than  a  revival ;  its 
history  is  almost  continuous  from  the 
period  of  the  early  religious  dramas  of  me- 
diaeval times,  and  it  retains,  however  faintly, 
some  of  the  characteristic  features  of  its 
prototype.  It  is  true  that  modern  condi- 
tions have  modified  the  form,  have  forced 
the  crudities  and  buffoonery  from  the  text, 
have  softened  the  character  conception  of 
Judas,  for  example,  in  precisely  the  same 
manner  that  Shylock  has  been  humanized 
since  the  red-wig  days  before  Charles  Mack- 
lin.  But  the  main  form  and  some  of  the 
effects  are  still  left,  however  far  from  the 
mediaeval  ingenuousness  it  is  being  forced 
by  contact  with  the  outside  world  and 
modern  stage  technique. 


^  vital  essence  of  the  Oberammergau 
Passion  Play  is  the  spirit  poured  into  the  mod- 
ified form  —  a  spirit  dominating  the  social, 
economic,  and  intellectual  life  of  the  people ; 
time  alone  will  tell  whether  the  communal 
ideal  and  whether  the  communal  mission, 
which  guard  the  minds  and  hearts  of  two 
thousand  Bavarian  peasants,  will  be  able  in 
isolated  reverence  to  withstand  the  suffusing 
forces  of  civilization ;  every  decade  opens 
the  sluices,  and  the  village  of  Ammergau  has 
to  meet  the  demands  of  a  transitory  and 
curious  crowd.  The  building  of  the  new 
theatre  for  the  production  of  1900  is  part 
example  of  how  time  and  circumstance 
work  against  tradition. 

A  student  went  to  Oberammergau  in  1900; 
in  his  mind  he  carried  pictures  of  mediaeval 
ingenuousness  —  the  triple  stage  of  heaven 
and  earth  and  hell,  the  church  background 
and  the  church-yard,  the  uncouth  humour 
centred  in  the  Devil,  the  primitive  concep- 
tions of  scene,  the  simple-minded  mediaeval 
audiences ;  none  of  these  did  he  find  at 
Oberammergau.  But  with  his  knowledge 
of  the  ancient  religious  drama,  he  was  better 
able  himself  to  be  a  mediaeval  and  to  profit 
by  what  is  left  of  the  type.  You  may  gather 

[xiv] 


together  all  the  dramas  in  England,  France, 
and  Germany,  bearing  upon  Crucifixion  and 
Resurrection  incidents  and,  with  proper  se- 
lection, construct  a  passion  play  more  orig- 
inal in  style,  more  unique  in  conception 
because  of  the  charm  which  lies  in  anach- 
ronism. But  after  that,  it  is  a  dead,  a  fixed 
thing,  representing  a  genre  wholly  depend- 
ent upon  the  atmosphere  in  which  it  origi- 
nally blossomed.  Because  of  the  very  fact 
that  the  people  of  Oberammergau  are  aloof, 
simple,  childlike  in  belief,  and  imbued  with 
an  inherited  mission,  because  they  have 
elected  to  do  one  thing  and  to  subserve  all 
else  to  that  one  thing,  the  spirit  in  which  they 
preserve  their  institution  is  what  makes  the 
Passion  Play  a  living  force  —  to  them. 

Evolution  has  deprived  Oberammergau  of 
much  of  its  agreement  with  mediaevalism ; 
Sebastian  Wild's  Devil  is  no  longer  used;  evil 
spirits,  which  once  were  accustomed  to  carry 
Judas  from  the  stage  in  much  the  same  man- 
ner as  they  dominated  in  the  early  "  Prophets 
of  Christ "  or  the  "  Adam  "  play,  have  dis- 
appeared ;  even  Judas's  death-shriek,  which 
once  rent  the  stillness,  is  no  longer  allowed, 
nor  has  he,  since  1890,  climbed  the  tree  be- 
fore his  hanging,  for  fear  unnecessary  mirth 

[XV] 


from  the  "groundlings"  might  destroy  the 
conscious  humanizing  which  stamps  every 
role  to  the  smallest  part. 

In  another  vital  respect  the  Passion  Play 
has  become  modified;  it  nowhere  accentu- 
ates the  Catholic  doctrine  from  which  it 
sprang;  at  first  Protestantism  approached 
Ammergau  warily,  with  somewhat  of  an- 
tagonistic criticism  as  to  bad  taste  and  sac- 
rilegious intent.  But  we  may  take  Matthew 
Arnold's  statement  as  a  conservative  sum- 
mary of  the  reasons  for  Protestant  accept- 
ance :  "  It  agrees  with  what  is  seen  ...  in 
literature,  in  the  writings  of  Dissenters  of  the 
younger  and  more  progressive  sort,  who 
show  a  disposition  for  regarding  the  Church 
of  Rome  historically  rather  than  polemically, 
a  wish  to  do  justice  to  the  undoubted  grandeur 
of  certain  institutions  and  men  produced  by 
that  Church,  quite  novel,  and  quite  alien  to 
the  simple  belief  of  earlier  times,  that  between 
Protestants  and  Rome  there  was  a  measure- 
less gulf  fixed." 

In  addition,  one  may  note  that  repeated 
renovations  of  the  text  have  been  made  with 
a  constant  desire  to  reach  the  brotherhood 
of  man  idea ;  or,  perhaps,  as  indication  of  a 
community  sense  of  good  taste;  it  is  this 

[xvi] 


feeling  which  prompted  the  omission,  in  the 
1900  production,  of  the  scene  in  which 
Veronica  hands  Christus  a  towel  on  which 
His  image  is  imprinted. 

Yet,  notwithstanding  this  departure  from 
the  type,  there  are  still  sufficient  resemblances 
and  relationship  to  adopt  an  historical  method 
in  dealing  with  this  survival ;  the  sermons 
delivered  in  the  church,  exhorting  the  players 
to  be  faithful  to  their  parts — the  Prologue  and 
Choruses,  recitative  in  content  and  reflective 
of  the  Greek  plays  —  the  human  grief  of  the 
Mother  before  the  cross,  so  like  the  mediae- 
val spirit  of  the  Marienklagen  —  the  simple 
realism  of  the  descent  from  the  cross,  sug- 
gestive of  early  English,  French,  and  German 
plays  of  similar  topic  —  these  details  are 
strikingly  characteristic  of  passion  play  per- 
formances in  general. 

Unlike  the  large  mediaeval  dramas  in  their 
prime,  the  Oberammergau  production  occu- 
pies only  one  day,  during  which  time,  be- 
tween the  hours  of  eight  and  five,  but  one 
intermission  is  allowed.  The  seventeen  acts 
form  a  play  about  four  times  the  length  of  an 
ordinary  four-act  modern  drama.  Formerly 
the  mysteries  and  passion  plays  stretched 
over  a  period  of  several  days  in  performing. 

[xvii] 


The  Actes  des  Apotres  contained  61,908 
lines,  while  a  mystery  of  the  New  Testa- 
ment exceeded  180,000  verses,  —  according 
to  Petit  de  Julleville,  sixty-six  times  the  length 
of  Polyeucte. 


II 


An  understanding  of  the  historical  signifi- 
cance of  the  Oberammergau  Passion  Play 
requires  a  perspective  survey  of  the  sources, 
a  short  discussion  of  the  Crucifixion  and 
Resurrection  scenes  in  the  early  religious 
drama.  Research  has  established  the  fact 
that  the  beginnings  of  the  modern  drama 
are  to  be  found  in  the  early  Church  service. 
The  fate  of  the  one  was  intimately  con- 
nected with  that  of  the  other  until,  during 
the  twelfth  and  thirteenth  centuries,  the  dra- 
matic elements  slowly  encroached  and  over- 
balanced the  religious,  and  resulted  in  a 
definite  separation  of  the  two.  One  natu- 
rally would  expect  to  find  dramatic  activity 
centred  around  the  two  pivotal  events  of  the 
church  service  —  Christmas  and  Easter. 

While  the  Easter  plays  appeared  first  in 
the  development,  the  Christmas  cycles  al- 
lowed of  immediate  larger  scope,  of  amplifi- 

[xviii] 


cation  departing  from  the  strict  order  of  the 
Scriptures.  But,  for  several  centuries,  the 
dramatists  were  careful  not  to  approach 
those  details  of  Christ's  death  which  formed 
the  most  sacred  elements  in  the  service.  The 
Resurrection  was  chiefly  dealt  with  until 
about  the  fifteenth  century,  when  the  Cruci- 
fixion received  extensive  treatment. 

Despite  the  encroachment  of  popular  situ- 
ations and  local  allusions,  the  great  Tragedy 
never  received  anything  but  reverential 
handling ;  yet  through  every  scene  flowed 
the  elements  of  time  and  place.  From  its 
liturgical  period,  through  its  transition  stage, 
to  the  era  of  the  mystery,  miracle,  and  moral- 
ity plays,  the  drama  was  fraught  with  social 
significance,  and  occupied  a  vital  place  in  the 
civic  life  and  in  the  national  development. 

In  the  Easter  liturgy,  after  the  Surrexit 
Dominus  vere  [The  Lord  hath  truly  risen], 
the  service  proceeded  as  follows :  i.  Psalms; 
2.  The  Lord's  Prayer ;  3.  Blessing ;  4.  Mark 
xvi. ;  5.  Three  lessons  of  the  day  (com- 
mentaries). The  first  dramatic  element  was 
introduced  after  the  third  response ;  the 
choir  split  in  twain,  and  from  one  side 
stepped  forth  three  priests  to  represent  the 
Maries,  while  from  the  other  side  two  ad- 

[xix] 


vanced,  representing  the  women  at  the 
grave.  Scenically,  the  altar  was  the  holy 
sepulchre,  even  as  it  was  the  manger  during 
the  Christmas  celebrations. 

Proceeding  to  the  altar,  the  Maries  are 
met  by  the  women  who  chant,  Quern 
quaeritis,  etc.,  "  Whom  seek  ye  in  the  sep- 
ulchre, O  Christians  ?  "  The  answer  is  given : 
"Jesus  of  Nazareth,  the  Crucified,  O  dwellers 
in  heaven."  The  response  follows :  "  He  is 
not  here ;  He  hath  arisen,  as  was  prophesied. 
Go  ye  and  proclaim  that  He  hath  arisen 
from  the  tomb." 

Then,  either  as  a  response,  or  in  the  form 
of  a  statement  to  the  congregation,  the  women 
at  the  tomb  add :  "  The  Lord  is  truly  risen, 
as  He  hath  said  ;  behold,  He  shall  go  before 
you  into  Galilee,  where  you  shall  see  Him. 
Hallelujah,  hallelujah!" 

Thereafter  the  officiants  resumed  the  reg- 
ular service,  Te  Deum  laudamus. 

Such  interpolations  were  designated  tropes, 
and  consisted  either  in  entirely  new  material 
which  was  inserted  during  the  service,  or  in 
certain  passages  expanded  by  the  intro- 
duction of  more  extensive  phrasing.  The 
question  and  response  characteristics  were 
carried  further  in  the  accentuation  of  indi- 

[XX] 


viduals  from  the  choir  group,  who  represented 
different  characters  engaged  in  dialogue. 
The  priest  was  turning  dramatist. 

The  tropes  are  of  the  tenth  century,  schol- 
ars claiming,  however,  that  the  form  must 
have  existed  as  early  as  the  ninth  century. 
A  description  taken  from  an  English  record 
contains  the  church  background  for  such 
rudimentary  plays.*  It  reads : 

"While  the  third  lesson  is  being  recited, 
four  brethren  [of  the  monastery]  shall  cos- 
tume themselves,  and  one  of  these,  who  is  to 
act  a  different  part  from  the  rest,  shall  enter, 
clothed  in  a  long  white  garment  [alb],  and, 
going  to  a  position  at  the  side  of  the  tomb 
[altar],  shall  sit  there  quietly,  holding  a  palm 
branch  in  his  hand.  And  when  the  third  re- 
sponse has  been  completed,  the  other  three 
shall  come  up,  dressed  in  long  flowing  gar- 
ments, and  bearing  illuminated  censers  in 
their  hands ;  and  they  shall  go  to  the  tomb 
slowly,  as  if  looking  for  something.  And 
now,  when  he  who  is  sitting  at  the  tomb  ob- 
serves these  approach,  ...  he  shall  begin  by 
singing  softly,  '  Whom  seek  ye  ? ' 

"Finding  the  linens  from  Christ's  body, 

*  I  have  elsewhere  treated  of  the  Christmas  cycle  and  of  the  history 
of  miracle,  mystery,  and  morality  plays. 

[xxi] 


they  shall  put  down  their  censers,  take  up 
the  linens,  and  spread  them  out  before  the 
clergy,  as  if  they  wished  to  show  the  Lord 
had  risen,  and  was  no  longer  wrapped  in 
them.  Having  sung  the  antiphony,  '  the 
Lord  is  risen  from  the  tomb,'  they  shall  place 
the  linens  upon  the  altar." 

The  introduction  of  the  actual  person  of 
Christ  was  preceded  in  the  historical  devel- 
opment by  ceremonials  in  which  the  cross 
figured  as  the  symbol.  But  this  reticence 
did  not  prevent  the  trope  from  being  ex- 
panded until  it  reached  the  proportions  of 
a  passion  play.  Such  increase  or  enlarge- 
ment was  mainly  secured  through  emphasis 
on  particular  scenes,  or  through  accretion, 
the  crude  joining  of  old  material  with  new 
to  produce  a  continuous  picture. 

The  following  extracts  from  manuscripts 
of  different  dates  indicate  something  of  the 
growth  in  scope  and  in  action. 

According  to  a  German  manuscript  of  the 
twelfth  century,  the  Maries  on  the  way  to 
the  tomb  sing :  "  Who  will  roll  away  for  us 
the  stone  at  the  mouth  of  the  sepulchre?*' 
Deacons,  as  angels,  chant :  "Whom  seek 
ye,"  etc.,  according  to  the  St.  Gall  inter- 
polations, while  the  Maries  respond,  "  Jesus 

[xxiij 


of  Nazareth,"  etc.,  as  before.  The  angels 
chant,  "  He  is  not  here,"  going  beyond  the 
St.  Gall  text  with  "  Come  ye  and  behold  the 
place  where  the  Lord  was  laid.  Hallelujah, 
hallelujah!"  Those  who  stand  before  the 
altar  now  sing  the  antiphony  :  "  The  Lord  is 
risen  from  the  tomb.  He  who  for  our  sakes 
hung  upon  the  Cross.  Hallelujah,  hallelujah, 
hallelujah ! " 

Turning  to  an  Italian  manuscript  of  the 
fourteenth  century  [Cathedral,  Cividale],  we 
find  that,  after  the  antiphony,  the  Maries 
proceed  to  the  tomb  in  order  to  see  the  wrap- 
pings, according  to  the  command  of  the 
angels,  and,  returning  to  the  choir  with 
the  wrappings,  sing:  "  We  came  to  the 
sepulchre  lamenting,  and  saw  sitting  there 
the  Lord's  angel,  telling  us  that  Jesus  was 
arisen."  The  Maries  now  sing:  "  Behold, 
O  brethren,  behold  the  linens  and  the  wind- 
ing sheet,  and  the  body  is  not  found  in 
the  sepulchre."  After  the  choir  has  pro- 
claimed the  resurrection,  the  service  is  re- 
sumed, Te  Deum  laudamus. 

Further  development  was  more  pro- 
nounced and  more  rapid  with  the  introduc- 
tion of  new  characters  and  new  text,  where 
heretofore  there  had  been  only  variation. 

[xxiii] 


In  a  manuscript  of  the  eleventh  or  twelfth 
century  the  Apostles  Peter  and  John  are 
introduced,  according  to  the  Gospel  of  St. 
John,  20 :  i  seq.  Mary  Magdalene  tells  of 
the  resurrection  —  a  scene  which  follows  the 
customary  colloquy  of  the  Maries  and  the 
angels.  The  directions  indicate  that  "  while 
the  antiphony  is  being  sung,  two  priests, 
representing  John  and  Peter,  shall  come  to 
the  sepulchre,  and,  taking  up  the  wrapping 
cloth,  shall  turn  about,  come  forward,  facing 
the  people  and  the  clergy,  singing :  '  Behold, 
O  brethren,  behold  the  linens  and  the  wind- 
ing-sheet ;  and  the  body  is  not  found  in  the 
sepulchre.' " 

This  action  having  occurred,  the  clergy 
shall  give  the  antiphony  as  in  earlier  texts, 
while  the  choir  does  more  than  interpolate, 
when  they  sing :  "  Let  the  Jews  now  tell  how 
the  soldiers,  guarding  the  sepulchre,  lost  the 
King,  though  a  rock  was  placed  over  the  en- 
trance of  His  tomb.  Why  kept  they  not  the 
Rock  of  Justice?  Let  them  either  give  back 
the  Buried  One,  or  adore,  with  us,  the  Risen 
One,  saying,  Hallelujah."  From  this  point 
the  service  is  resumed. 

It  will  be  seen  that,  while  these  small 
dramas  are  distinctly  liturgical,  the  additions 

[xxiv] 


are  not  mere  Bible  paraphrases.  The  treat- 
ment is  guarded  though  varied.  In  John  20  : 
ii  seq.j  the  mediaeval  dramatist  found  sanc- 
tion for  the  introduction  of  Jesus.  This  par- 
ticular incident  was  a  favourite  scene  with 
the  celebrants  of  the  thirteenth  century,  while 
there  is  one  manuscript  dated  as  early  as  the 
twelfth  century.  A  Prague  drama  in  addi- 
tion contains  a  scene  in  which  the  Maries, 
on  their  way  to  the  tomb,  stop  in  order  to 
buy  spices  and  ointments. 

This  dramatic  action,  as  outlined,  took  place 
in  the  church  during  the  service,  and  was  en- 
acted by  the  clergy.  The  recitative  character 
of  the  dialogue  had  its  educational  value, 
since  it  made  the  sequence  of  events  evident 
to  a  congregation  ignorant  of  Latin. 

The  ceremonials  in  which  the  cross  was 
used,  representing  the  body  as  well  as  sym- 
bolizing the  passion  of  Christ,  contain  varied 
colour ;  there  is  much  in  them  to  accord  with 
the  dramatic  and  pantomimic  character  of 
the  liturgy  of  the  Mass.  In  a  description  of 
the  Burial  of  the  Cross,  according  to  Cham- 
bers, one  source  directs  the  monks  to  go 
shoeless  from  Good  Friday  "until  the  cross 
is  adored."  "  In  the  principal  service  of  the 
day,  which  begins  at  nones,  the  reading  of 

[xxv] 


the  Passion  according  to  St.  John,  and  a  long 
series  of  prayers  are  included.  Then  a  cross 
is  made  ready  and  laid  upon  a  cushion  a 
little  way  in  front  of  the  altar.  It  is  unveiled, 
and  the  anthem,  Ecce  lignum  crucis,  is 
sung.  The  Abbot  advances,  prostrates 
himself,  and  chants  the  seven  penitential 
Psalms.  Then  he  humbly  kisses  the  cross. 
His  example  is  followed  by  the  rest  of 
the  monks  and  by  the  clergy  and  congre- 
gation." 

Then,  according  to  St.  Ethelwold :  "  Let 
them  carry  it  [the  cross] .  .  .  singing  anthems, 
until  they  come  to  tfte  place  of  the  mon- 
ument [sepulchre],  and  there,  having  laid 
down  the  cross,  as  if  it  were  the  buried  body 
of  our  Lord  Jesus  Christ,  let  them  say  an 
anthem.  And  here  let  the  holy  cross  be 
guarded  with  all  reverence  until  the  night 
of  the  Lord's  resurrection.  By  night  let 
two  brothers  or  three,  or  more  if  the  throng 
be  sufficient,  be  appointed,  who  may  keep 
faithful  wake  there,  chanting  psalms."* 

The  Resurrection  Ceremonial  is  equally  as 
solemn.  The  source  reads :  "  Uppon  Easter 
Day,  betweene  three  and  four  of  the  clocke 

*  This  whole  subject  is  graphically  treated  by  Chambers,  The 
Medixval  Stage,  Vol.  II.  (Oxford,  Clarendon  Press),  pp.  14  seq.t 
p.  310,  Appendix  P. 

[  xxvi  ] 


in  the  morninge  .  .  .  two  of  the  oldest  Monkes 
of  the  Quire  came  to  the  Sepulchre,  being 
sett  upp  upon  Good  Friday,  after  the  Pas- 
sion, all  covered  with  red  velvett  and  em- 
brodered  with  gold,  and  then  did  sence  it, 
either  Monke  with  a  pair  of  silver  sencers 
sittinge  on  theire  knees  before  the  sepulchre. 
Then  they  both  rising  came  to  the  Sepulchre, 
out  of  which,  with  great  devotion  and  rev- 
erence, they  tooke  a  marvellous  beautifull 
IMAGE  OF  OUR  SAVIOUR,  representing  the 
resurrection,  with  a  crosse  in  his  hand.  .  .  . 
Then,  after  the  elevation  of  the  said  picture, 
carryed  by  the  said  two  Monkes  uppon  a 
faire  velvett  cushion,  all  embrodered,  singinge 
the  anthem  of  Christus  resurgens,  they 
brought  it  to  the  High  Altar.  ..."  * 

This  is  a  unique  picture,  with  the  church 
or  cathedral  as  a  scenic  background,  the 
members  of  the  congregation  intent  on  ev- 
ery movement  that  brought  them  their  slim 
knowledge  of  Bible  lore,  the  story  made 
doubly  vivid  as  they  saw  it  unfolded  before 
them,  the  priests  in  ecclesiastical  robes,  sway- 
ing through  the  long  aisles,  their  voices  reso- 
nant in  the  high  arches,  their  lighted  tapers 
like  stars  in  the  shadow. 

*  See  Chambers. 
[  xxvii  ] 


Of  the  costumes,  Chambers,*  basing  his 
descriptions  on  various  authorities,  writes : 

"  The  Maries  had  their  heads  veiled,  and 
wore  surplices,  copes,  chasubles,  dalmatics, 
or  the  like.  These  were  either  white  or  col- 
oured. At  Fecamp  one,  presumably  the 
Magdalene,  was  in  red,  the  other  two  in 
white.  .  .  .  The  angels,  or  angel,  as  the  case 
might  be,  sat  within  the  sepulchre  or  at  its 
door.  They,  too,  had  vestments,  generally 
white,  and  veiled  or  crowned  heads.  At 
Narbonne,  and  probably  elsewhere,  they  had 
wings.  They  held  lights,  a  palm,  or  an  ear 
of  corn,  symbolizing  the  resurrection.  The 
Apostles  are  rarely  described,  the  ordinary 
priestly  robes  doubtless  sufficed.  At  Dublin, 
St.  John,  in  white,  held  a  palm,  and  St.  Peter, 
in  red,  the  keys.  In  the  earliest  Prague  ver- 
sion of  the  Christ  scene,  the  Christ  seems  to 
be  represented  by  one  of  the  angels.  At 
Nuremberg,  the  dominica  persona  has  a 
crown  and  bare  feet.  .  .  ." 

Popular  dramatic  taste  began,  during  the 
twelfth  century,  to  contend  with  the  liturgical 
drama,  resulting  in  changes  of  vital  signifi- 
cance in  form  and  spirit.  The  Latin  tongue 
of  the  tropes  was  gradually  superseded  by 

*  The  Medi&val  Stage,  Vol.  II.  p.  34. 
[  xxviii  J 


the  introduction  of  the  vernacular,  at  first 
merely  interpolative,  but  increasing  bit  by  bit 
until,  in  the  thirteenth  century,  one  finds  a 
play  written  entirely  in  French,  save  for  the 
Latin  dramatis  personce. 

This  piece  is  called  La  Resurrection, 
and  is  but  the  fragment  of  a  manuscript. 
The  scope  of  the  play  extends  from  the  time 
when  Joseph  asks  Pilate  for  Christ's  body,  to 
the  moment  when  Caiaphas  and  his  soldiers 
guard  the  tomb,  awaiting  the  predicted  resur- 
rection of  the  dead.  Here  the  expansion  of 
the  subject-matter  is  striking,  and  foreshad- 
.ows  the  extensive  fifteenth  century  mysteries, 
in  which  the  entire  life  of  Christ  was  traced, 
with  Old  Testament  references,  a  formula 
characterizing  the  Oberammergau  play. 

Even  though  it  is  a  fragment,  La  Resur- 
rection marks  the  transition  development  in 
an  excellent  manner.  The  prologue  is  par- 
ticular as  to  the  stage  setting,  which  was 
fixed,  according  to  the  "  stations "  of  the 
mediaeval  platform.  The  author,  a  product 
of  his  age,  speaks  of  "  don  "  Joseph  and  Nico- 
demus,  and  refers  to  the  vassals  of  Caiaphas , 
even  Joseph  in  his  greeting  to  Pilate  shows 
the  mediaeval  spirit  of  temporal  inferiority, 
by  his  submissive  Monseigneur*  And  in 


return  Pilate,  forsaking  not  his  pagan  asso- 
ciations, rejoins :  "  Let  Hercules,  who  killed 
the  dragon,  and  destroyed  the  old  Gerion, 
give  wealth  and  honour  to  him  who  greets 
me  so  tenderly."  The  sudden  changes  in 
scene  called  for  in  so  small  a  drama  were  ac- 
complished by  the  actor  merely  stepping  from 
one  indicated  spot  to  the  other,  a  move- 
ment which  demanded  the  assistance  of  the 
imagination  on  the  part  of  the  audience. 

It  is  typical  of  the  development  in  both  the 
Christmas  and  Easter  cycles  that  the  inci- 
dents in  certain  plays  became  in  turn  distinct 
dramas  themselves.  Adam  figures  as  one  of 
the  Prophets  in  the  "  Prophets  of  Christ";  he 
also  is  the  centre  of  a  separate  action  which 
grew  out  of  a  desire  to  accentuate  his  impor- 
tance. This  is  why  the  mediaeval  dramatist, 
when  he  found  material  already  prepared 
and  to  his  liking,  appropriated  it ;  this  is  why 
the  two  methods  of  growth,  by  accretion  and 
assimilation,  were  dependent  upon  the  idea 
of  common  possession  which  recognized  no 
conscious  plagiarism.  And  so  the  student 
meets  with  cycles  around  the  Virgin  and 
Mary  Magdalene  which  later  are  conjoined 
in  the  greater  passion  plays. 

These  latter  are  chiefly  preserved  in  French 

[  XXX  ] 


and  German  manuscripts,  and  are  so  enor- 
mous in  length  as  to  make  one  marvel  at  the 
ponderousness  of  the  roles  memorized  and 
enacted.  Human  and  realistic  elements 
crept  in,  but  in  characterization  there  was 
little  effort  to  do  more  with  the  Christ  than 
to  reflect  the  high  idealism  and  fervour  of  the 
Bible.  Even  in  the  Oberammergau  play 
there  is  no  theatric  endeavour  to  over-ac- 
centuate Christus.  A  critic  *  states  that  "liter- 
ally no  attempt  to  define,  draw  out,  or  give  an 
interpretation  of  the  character  of  our  Lord  is 
made  by  the  thoughtful  enthusiast  who  rep- 
resents Him ;  that  the  realisms  of  the  scene 
and  obligate  touches  of  homely  character  are 
given  principally  to  the  inferior  parts." 

The  passion  play,  so  highly  developed  in 
Germany,  is  not  a  species  in  the  English  de- 
velopment ;  yet  the  English  cycles  trace  the 
course  of  events  from  Creation  to  the  Judg- 
ment and  exhibit  the  tone  of  all  religious 
drama ;  for,  no  matter  what  the  national  ele- 
ments might  be  in  England,  France,  and  Ger- 
many, a  common  origin,  a  similar  religious 
impulse,  a  secularization  similar  in  motive  if 
not  in  process,  served  to  produce  similarity 
of  spirit,  especially  noticeable  because  of  the 

*  Tyrwhitt. 
[xxxi] 


similarity  of  the  material  employed.  There- 
fore in  a  Towneley  mystery  (T.  xxiii.)  the 
following  Crucifixion  dialogue  contains  much 
of  Oberammergau  in  essence,  besides  ex- 
pressing a  characteristic  mediaeval  naivete. 
Pilate  commands  silence  under  threat  to 
whomsoever  breaks  it,  and  thus  discourses  : 

I  am  a  lord  that  mekill  [much]  is  of  myght, 

prince  of  all  lury,  sir  pilate  I  hight, 

Next  Kyng  herode  grettyst  of  all ; 

Bowys  to  my  byddyng  both  greatt  and  small, 

Or  els  be  ye  shentt  [destroyed] ; 
Therfore  stere  youre  tonges,  I  warn  you  all, 
And  vnto  vs  take  tent. 

After  the  condemnation,  the  torturers  con- 
verse among  themselves  about  Christ,  "  this 
fals  chuffer  [boaster],"  who  claims  He  can 
perform  miracles,  yet  is  not  able  to  save 
Himself.  They  prepare  for  the  Crucifixion : 

Lo,  here  I  haue  a  bande, 
If  nede  be  to  bynd  his  hande.  .  .  . 

Lo,  here  a  hamere  and  nales  also, 
ffor  to  festen  fast  cure  foo.  .  .  . 

The  action  progresses,  and  the  torturers 
reach  Calvary  with  Christ.  They  mock  His 
Godhead ;  if  He  be  true  Knight  [mediaeval 
touch],  He  will  sit  His  horse  [the  cross]  well. 

[  xxxii  ] 


Then,  as  they  bind  His  body,  the  realism  of 
the  dialogue  becomes  intensified : 

SECUNDUS  TORTOR.     Knyt  thou  a  knott  with 

all  thi  strength, 

ffor  to  draw  this  arme  on  lengthe, 
Tyll  it  com  to  the  bore.  .  .  . 

QUARTUS  TORTOR.     yit  drawe  out  this  arme 

and  fest  it  fast, 

With  this  rope  that  well  will  last, 
And  ilk  man  lay  hand  to.  .  .  . 

IJUS  TORTOR.    Do  dryfe  a  nayll  ther  thrugh  outt, 
And  then  thar  vs  nothyng  doutt, 
ffor  it  will  not  brest  [burst].  .  .  . 

PRIMUS  TORTOR.    hald  downe  his  knees.  .  .  . 

TERCIUS  TORTOR.     Draw  out  hys  lymmes,  let 
se,  haue  at!  ... 

PRIMUS  TORTOR.    hald  it  now  fast  thor, 
And  oone  of  you  take  the  bore.  .  .  . 

As  they  begin  to  draw  the  cross  into  place 
with  ropes,  they  vie  with  each  other  in  their 
enthusiasm,  and  then  fall  to  accusing  each 
in  turn  of  not  giving  his  full  effort.  When 
at  last  the  cross  is  raised,  they  again  mock 
Jesus,  self-satisfied  as  to  their  work.  Gazing 
at  the  cross  firmly  held,  one  of  them  says, 
"  A,  it  standys  vp  lyke  a  mast ! " 

Then,  in  His  agony,  Jesus  speaks  : 

[  xxxiii  ] 


I  pray  you  pepyll  that  passe  me  by, 
That  lede  youre  lyfe  so  lykandly, 

heyfe  vp  youre  hartys  on  night! 
Behold  if  euer  ye  sagh  body 
Buffet  &  bett  thus  blody, 

Or  yit  thus  dulfully  dight.  .  .  . 
My  folk,  what  haue  I  done  to  the, 
That  thou  all  thus  shall  tormente  me?  ... 
What  haue  I  greuyd  the?  answere  me, 
That  thou  thus  nalys  me  to  a  tre.  .  .  . 

Then  follows  this  paraphrase: 

Bot,  fader,  that  syttys  in  trone, 

fforgyf  thou  them  this  gylt, 
I  pray  to  the  this  boyn  [prayer], 
Thay  wote  [know]  not  what  thay  doyn, 

Nor  whom  thay  haue  thus  spylt. 

The  torturers  further  show  their  cruelty  by 
joggling  the  cross.  Without  any  indication 
of  scene-change,  the  action  passes  to  Mary's 
lament,  very  like  the  German  Marienklagen 
of  the  thirteenth  century : 

MARIA.    Alas!  the  doyll  I  dre  [endure], 

I  drowpe,  I  dare  [lie  hid]  in  drede! 
Whi  hyngys  thou,  son,  so  hee? 

My  bayll  [misfortune]  begynnes  to  brede, 
All  blemshyd  is  thi  ble  [complexion], 

I  se  thi  body  blede! 
In  warld  son,  were  neuer  we 

So  wo  as  I  in  wede.  .  .  . 

[  xxxiv  ] 


ffestynd  both  handys  and  feete 
With  nalys  full  vnmete, 
his  wounds  wrynyng  wete, 

Alas,  my  childe,  for  care!  .  .  . 

John  fain  would  comfort  her,  but  she  can- 
not control  the  mother-grief.  Why  may  not 
death  slay  her  also  ?  Jesus  calls  her  "  my 
mother  mylde,"  assuring  her  that  He  suffers 
for  the  salvation  of  the  world. 

The  scene  again  changes  without  indica- 
tion, and  the  torturers  offer  Christ  a  bitter 
drink,  bidding  Him  perform  a  miracle.  They 
likewise  divide  His  clothes  among  them- 
selves. 

After  the  Saviour  gives  up  the  ghost,  which 
reminds  one  of  the  fact  that  in  some  of  the 
early  dramas  the  characters  included  a  sepa- 
rate person  for  the  "  gast,"  there  occurs  the 
scene  in  which  Longinus  is  forced  to  drive 
his  spear  into  the  body.  This  and  the  dia- 
logue between  Joseph  and  Nicodemus  are 
reminiscent  of  La  Resurrection. 

Even  as  the  Mary  Magdalene  scenes  occu- 
pied large  and  definite  space  in  the  Benedikt- 
beur  and  Wiener  passion  plays,*  so  the 
Marienklagen,  at  a  period  when  the  Latin- 
German  drama  was  passing  into  the  vernac- 

*  See  Mone  and  other  German  references. 
[ xxxv  ] 


ular,  had  an  individual  development,  and 
whether  or  not  they  were  fragments  of  larger 
dramas,  it  is  none  the  less  certain  that  they 
formed  a  genre  peculiar  to  early  German 
drama,  and  reflective  of  a  pronounced  Ger- 
man Marienkultus. 

Some  authorities  believe  that  the  German 
Christians  sang  of  Mary  with  the  same  in- 
tensity that"  the  minnesingers  lauded  the 
national  heroes  in  their  lieds  and  sagas. 
These  Marienklagen,*  based  upon  the 
Latin  "sequence,"  were  subjected  to  the 
same  transforming  influences  as  the  trope  ; 
they  were  characterized  by  lyricism  and 
dramatic  power,  and,  because  of  the  few 
personages  required  in  the  performances, 
were  much  sought  after  by  village  commu- 
nities. The  same  human  love  of  the  Mother 
for  her  Son  is  reflected  and  intensified  in  the 
Oberammergau  Passion  Play. 

Ill 

There  are  two  characteristics  of  the  Ober- 
ammergau Passion  Play  which  were  com- 
mon among  the  miracle  plays  of  the  fifteenth 
and  sixteenth  centuries  ;  many  of  them  were 
presented  with  a  direct  object  of  warding 

*  See  Froning. 
[ xxxvi  J 


off  the  pest,  an  interesting  example  being 
found  in  1497,  when  "  Saint  Sebastian  "  was 
given  at  Chalon-sur-Saone  *  —  and  others 
contained  in  their  casts  entire  families.  If 
possible,  the  early  miracles  and  passion 
plays  were  enacted  with  more  grandeur,  on 
a  larger  scale,  and,  being  more  directly  under 
the  patronage  of  royalty,  the  players  re- 
ceived more  adequate  remuneration  for  their 
services.  So  large  were  some  of  these  pro- 
ductions that  special  confreries  in  France 
were  organized  with  the  direct  object  of 
giving  a  single  performance  of  a  piece  last- 
ing twenty-five  days.  That  there  was  small 
profit  to  the  organizations  may  be  seen  by 
the  figures  representing  the  receipts  (4,680 
livres,  14  sous,  6  deniers)  and  the  expendi- 
tures (4,179  livres,  4  sous,  9  deniers)  of  a 
Passion  played  at  Valenciennes  in  1547. 

The  history  of  passion  plays  has  not  re- 
ceived adequate  treatment  by  the  English 
student ;  the  material  is  rich  and  varied  and 
full  of  human  interest,  and  its  civic  charac- 
ter or  connection  fraught  with  grandeur  of 
pomp  and  with  simple  superstition.  The 
account-books  of  the  gilds  contain  entries  in- 
dicating the  expense  of  the  costumes,  which 

*  See  De  Julleville,  I.  346. 
[  xxxvii  ] 


were  often  borrowed,  as  were  also  those  used 
at  Oberammergau  until  1830,  when  the  com- 
munity decided  to  purchase  its  own  ward- 
robe; now  every  costume  is  duplicated, — 
for  bad  and  good  weather. 

It  is  the  general  impression  that  the  Ober- 
ammergau Passion  Play  began  in  1633  or 
more  probably  in  1632,  according  to  Daisen- 
berger,  when  Caspar  Schuchler,  a  labourer, 
brought  the  scourge  to  Ammergau ;  but  re- 
search has  clearly  indicated  that  this  survival 
was  subjected  to  an  evolutionary  develop- 
ment distinctive  of  the  genre.  Besides 
which,  an  examination  of  the  older  texts  will 
show  that  the  theatre  itself,  though  departing 
from  the  distinctive  features  of  the  mediaeval 
stage,  is  reminiscent  of  the  latter  in  the  ar- 
rangement of  its  stations. 

The  reader  can  do  no  better  than  turn 
to  Hermine  Diemer's  "  Oberammergau  and 
its  Passion  Play  "  for  a  history  of  the  village 
and  its  historical  connections.  With  Munich, 
the  Bavarian  capital,  as  a  starting-point, 
mediaevalism  flows  toward  Oberammergau, 
touched  by  the  hand  of  modern  improvement, 
in  the  midst  of  which  the  traveller  meets  with 
legend  and  monumental  landmarks  of  Bava- 
rian princes.  Whatever  people  may  say 

[  xxxviii  ] 


about  the  close  proximity  of  Munich  being  a 
disadvantage  to  the  simple  existence  of  Am- 
mergau,  much  of  the  lustre  of  Bavarian 
history  has  been  shared  by  the  little  village ; 
every  year  steam  and  electricity  bring  it  closer 
to  the  art  centre,  and  there  is  no  doubt  that 
the  conquest  of  mountain  fastness  in  this 
way  will  eventually  make  it  impossible  for 
the  peasants  or  even  the  better  class  of  vil- 
lagers to  exist  untouched  by  cosmopolitan 
life.  But,  to  counteract  this,  there  still  re- 
mains the  tradition,  evidences  of  which  dot 
the  road-ways  and  decorate  the  exterior  of 
hall  and  home. 

But  when  change  comes  to  Ammergau,  it 
will  gain  its  effect  through  mental  revolution 
rather  than  through  the  shifting  of  commer- 
cial or  industrial  relations.    The  spirit  of  the 
mountains  and  the  influence  of    Ettal   de- 
scend, as  of  yore,  into  the  valley,  while  the\ 
river  Ammer  refuses  to  relinquish  its  ancient  I 
associations,  just  as  the  river  Thames  stands/ 
a   bulwark   against   the   encroachments  of 
trade. 

The  valleys  around  Unterammergau  were 
the  favourite  haunts  of  King  Ludwig  II.  The 
villages  leading  to  the  home  of  the  Passion 
Play  are  all  associated  with  German  history ; 

[  xxxix  ] 


they  all  have  had  their  feudal  counts  and  they 
all  boast  of  their  national  advantages  and 
beauties.  It  is  when  the  traveller  reaches 
Oberau  that  the  spirit  of  Oberammergau 
begins  to  work ;  here  Daisenberger  was  born, 
here  Andreas  Lang  has  placed  one  'of  his 
famous  Crucifixion  groups,  here  are  the  crude 
stations  of  the  cross  to  which  Dean  Farrar 
so  emphatically  objected  on  the  score  of  bad 
art  as  well  as  of  a  lack  of  religious  reticence. 
From  Oberau  also  the  mountain  road  to 
Ettal,  once  so  treacherous  because  of  the 
deep  tarns  and  sudden  depressions,  leads 
through  scenery  of  romantic  variety.  As 
Madame  Diemer  expresses  it, —  after  describ- 
ing the  danger  of  precipice, —  the  rivulets, 
"the  mountain's  tears,"  trickle  down  "from 
eyes  of  stone,  fringed  by  the  dark  eyelashes  of 
the  pine  trees."  Yet  this  country  of  Tyrolean 
ruggedness  has  its  gentle  aspect  also:  the 
roads  that  lead  toward  Oberammergau  are 
not  strangers  to  marigolds  or  gentians  or  for- 
get-me-nots, however  familiar  with  the  slide 
of  snow  or  the  shifting  of  ice.  The  poetic 
and  romantic  quality  of  the  environment,  the 
;  Jesuitical,  mediaeval  tradition  of  Ettal  Monas- 
\tery,  the  cross  which  hovers  high  above  the 
Village  of  Oberammergau,  on  a  crest  known 

[xl] 


as  the  "  Kofl  "  —  the  panoramic  glimpse  of 
the  home  of  the  Passion  Play,  with  this  cross, 
the  church,  and  the  theatre  comprising  the 
first  objects  to  catch  the  eye  —  all  these  are 
the  outward  instructions  to  the  novitiate  who 
pilgrimages  to  this  home  of  religious  drama.  / 

It  is  not  our  object  to  give  the  local  history 
of  Oberammergau,  save  as  it  materially 
affects  the  development  of  the  play  and  its 
immediate  production.  The  guidebooks  in 
sentimental  language  will  convey  the  neces- 
sary data  which  are  in  no  manner  as  satis- 
factory as  the  album  prepared  by  Madame 
Diemer  or  as  the  records  penned  by  Daisen- 
berger.  In  a  country  where  every  happening 
is  either  born  in  a  train  of  historic  or  super- 
natural occurrences  or  else  becomes  the 
centre  of  future  legend,  a  book  alone  might 
be  devoted  to  such  detail.* 

Ammergau  was  known  to  the  Romans, 
whose  blood  flows  in  the  peasants'  veins.  It 
lay  along  the  direct  military  and  commercial 
route  between  Augsburg  and  Verona ;  it  was 
concerned  with  the  fate  of  the  Guelfs  for  over 

*  C.  Trautmann :  "  Oberammergau  und  sein  Passionsspiel."  See 
his  descriptions  of  the  founding  of  Ettal.  This  monastery,  included 
in  a  district  popularly  known  as  the  "priest-pen,"  was  in  a  group  of 
convents  with  Benediktbeuren,  from  which  the  mediaeval  passion 
manuscript  was  derived. 

[xli] 


two  hundred  years,  and  then,  in  1314,  when 
the  Bavarian  Prince  Ludwig  became  Ger- 
man Emperor,  Ammergau  rose  into  prom- 
inence. For  the  monarch  was  visited  by  a 
monk  who  promised  him  peace  if  to  the  holy 
Mother  a  monastery  was  raised  in  Bavaria 
for  the  Benedictine  Order.  Thus  Ettal  came 
into  being,  and  thus  early  the  Ammer  valley 
could  boast  of  Augsburg  and  Jesuit  tradition. 
I  am  inclined,  with  Hartmann,  to  believe  that 
when  Ettal  restored  the  Augsburg  road,  it 
linked  the  Oberammergau  Passion  Play  with 
the  larger  history  of  passion  plays  in  general. 
The  whole  art  fervour  of  the  Ammergau 
people  seems  to  have  been  encouraged  by 
their  early  association  with  Augsburg  and 
Nuremberg. 

The  student  has  to  study  the  mediaeval 
relationship  existing  between  a  German  vil- 
lage and  the  ecclesiastical  institution  over- 
shadowing it.  In  1356,  Oberammergau  "  was 
a  parish  of  its  own,  which  was  subservient 
to  the  Convent  of  Rottenbuch  "  ;  hence  there 
was  much  to  be  adjusted  between  the  two, 
an  adjustment  which,  in  the  case  of  each, 
involved  the  history  of  the  other.  One  may 
understand,  therefore,  how  it  was  that  Ober- 
ammergau should  have  been  greatly  affected 

[xlii] 


by  the  state  of  monastic  culture  in  mediaeval 
Germany.  Ettal  influenced  both  her  Passion 
Play  and  her  wood-carving. 

Among  these  monastic  bodies  the  artistic 
and  scientific  impulses  were  strong;  espe- 
cially the  latter,  since  a  certain  scientific 
tradition  was  preserved,  which  eventually 
led  toward  the  establishment  of  a  Bavarian 
Academy  of  Science  (1758).  Thus  the  con- 
vents were  regarded  as  the  centres  of  a  staid 
intellectual  life.  The  clerical  influence  was 
dissolved  in  1803,  the  culmination  of  a  strug- 
gle involving  due  consideration  of  the  Ref- 
ormation, the  Counter-Reformation,  and  the 
variable  attitude  of  the  State  toward  the 
Church.  The  parish  and  civic  interests  of 
the  times  were  closely  interwoven. 

The  proximity  of  the  monastery  to  Ober- 
ammergau,  moreover,  influenced  her  com- 
mercial prosperity,  and  in  a  modified  form 
there  developed  among  her  people  organiza- 
tions resembling  the  mediaeval  gilds.  Even 
at  the  present  time,  the  communal  unity  of 
the  village,  while  deeper  and  more  spiritual 
than  the  craft  motive,  suggests  a  resem- 
blance to  the  early  Passion  organizations. 
Judged  by  the  standards  of  the  day,  Ober- 
ammergau  during  this  early  period  enjoyed 

[xliii] 


many  opportunities  and  advantages  of  a 
cosmopolitan  town,  for  records  indicate  that 
not  only  did  artists  visit  Ettal,  but  also  that 
Ammergau  art  students  travelled  to  Augs- 
burg for  instruction.  In  lieu  of  direct  proof, 
this  fact  is  significant,  establishing  a  con- 
nection between  the  text  of  the  1662  Pas- 
sion Play  and  the  Augsburg  drama,  besides 
indicating  the  outside  impulse  given  to  the 
Oberammergau  wood-carving  which  had 
thus  early  become  famed. 

The  scourge,  which  represents  the  popu- 
lar starting-point  for  the  history  of  the  Pas- 
sion Play,  appeared  in  the  wake  of  war; 
since  early  times  the  little  village  has  had 
its  quota  of  disturbance,  has  suffered  the 
brunt  of  national  strife ;  it  has  been  in  direct 
line  between  contending  Palatinates ;  it  has 
witnessed  repeated  inroads,  Ettal,  in  espe- 
cial, representing  the  chief  centre  of  pillage. 
In  fact,  Oberammergau  has  experienced  di- 
verse dissensions  which  characterized  un- 
unified  Germany.  During  the  Thirty  Years' 
War,  Swedes  and  Austrians,  each  in  turn, 
fell  upon  the  community,  in  the  wars  of 
Louis  XIV  (1680),  in  the  Austrian  War  of 
Inheritance  (1740),  in  the  Napoleonic  up- 
heavals (1796-1809),  fire  and  sword  left  their 

[xliv] 


marks  in  the  village.  The  peace  of  the 
Ammergauers  has  come  from  spiritual 
resolve. 

We  have  now  to  bear  in  mind  two  sig- 
nificant dates,  —  the  establishment  of  Ettal 
in  1330,  and  the  institution  of  the  decennial 
performances  of  the  Passion  Play.  Previ- 
ous to  1634,  the  religious  drama  was  exten- 
sively performed  throughout  Bavaria.  The 
Benediktbeuer  manuscripts  are  relics  of 
those  times;  while  Munich  and  Innsbruck 
records  indicate  the  support  of  magnificent 
productions. 

There  is  conflicting  evidence  for  those 
who  would  connect  the  development  of 
Oberammergau's  drama  with  the  convents 
of  Ettal  and  Rottenbuch.  Madame  Diemer, 
a  stanch  refuter  of  Trautmann's  assertions 
in  support  of  Jesuitical  influence  on  the 
play,  denies  the  connection,  while  Jackson 
is  authority  for  the  following  claim: 

"  Even  Daisenberger  admitted  .  .  .  that 
the  monks  of  Ettal  may  have  aided  the  vil- 
lagers in  carrying  out  their  vow.  Dr.  Hol- 
land is  of  the  opinion  that  the  Passion  Play 
was  introduced  into  Ammergau  simultane- 
ously with  the  craft  of  wood-carving.  For 
both  acquisitions,  he  thinks,  they  were  in* 

[xlv] 


debted  to  the  monks  of  Rothenbuch  [Augus- 
tine order].  The  date  which  he  gives  is  the 
twelfth  century. 

"And,  indeed,  as  to  the  supposition  that 
the  Passion  Play  dates  from  the  pestilence 
of  1633,  we  have  already  hinted  that  it  is 
totally  unfounded.  Leaving,  however,  to  Ro- 
thenbuch the  credit  of  having  first  prepared 
the  text  and  introduced  the  religious  drama 
into  Ober  Ammergau,  it  is  probable  that,  as 
soon  as  the  monastery  of  Ettal  was  estab- 
lished, the  latter  took  the  immediate  guid- 
ance of  any  existing  dramatic  elements  into 
their  hands.  That  both  the  monks  of  Ro- 
thenbuch and  of  Ettal  had  religious  plays 
cannot  be  controverted;  for  in  1803,  when 
the  property  of  the  suppressed  Bavarian 
monasteries  was  put  up  at  auction,  costumes 
used  in  the  religious  plays  were  sold, 'and 
the  community  of  Ober  Ammergau  pur- 
chased from  Ettal  a  number  of  dresses,  some 
of  which  they  still  used  in  1870." 

Let  us  grant,  therefore,  that  throughout 
Germany  the  passion  play,  as  a  form  and 
as  a  pledge,  was  familiar ;  that  such  dramas, 
together  with  the  high  processionals  of  Cor- 
pus Christi  and  minor  festival  observances, 
if  they  did  not  actually  encourage  the  Am- 

[xlvi] 


mergau  community  to  enact  the  Birth  and 
Death  of  Christ  before  1634,  at  least  induced 
them  to  undertake  such  a  production  when 
they  were  stricken  by  pestilence;  and  that 
thus,  once  determined,  they  reached  out  to- 
ward their  flourishing  friends,  the  com- 
munities of  Augsburg  and  Nuremberg,  the 
former  especially  affording  them  the  basis 
for  their  play.  This  evolutionary  growth 
we  will  consider  after  we  have  noted  how 
well  and  how  uninterruptedly  the  Ammer- 
gauers  adhered  to  their  decennial  pledge. 

For  the  first  production  an  open-air  stage 
was  prepared,  and,  until  1674,  the  drama 
was  presented  with  regularity;  then  it  was 
decided  to  give  the  next  performance  in 
1680,  so  as  to  have  the  accepted  decade  date. 
About  this  time  the  audiences  were  prom- 
ised the  luxury  of  seats ! 

By  interdict,  in  1770,  the  Passion  Plays 
around  Oberammergau  were  summarily 
stopped,  but  the  famous  little  village  pro- 
tested so  effectively,  presenting  the  spiritual 
and  material  advantages  in  such  graphic 
manner,  that,  for  the  time  being,  the  restric- 
tions were  removed  from  this  special  locality. 
"(Diemer,  pp.  67  seq.) 

Such  official  opposition  was  aggravated 

[xlvii] 


by  rough  and  unseemly  handling  of  particu- 
lar Passion  scenes  by  the  actors*  —  a  coars- 
ening which  was  sometimes  evident  as  a 
concession  to  popular  appeal.  But  grad- 
ually the  governmental  jurisdiction  relaxed 
in  its  power,  and  the  Ammergauers,  ap- 
proaching their  1780  period,  forwarded  a 
petition  to  the  Government,  together  with  a 
copy  of  their  Passion  text,  which,  according 
to  Blondel,  had  been  modified  with  an 
idea  to  forestall  any  possible  censorship. 
This  modification,  unless  relating  to  minor 
changes,  must  have  referred  to  the  Weilheim 
version,  considered  in  Hartmann's  study. 

The  Passion  Play  had  an  enemy  around 
1810  in  the  Bavarian  minister,  Count  Mont- 
gelas,  who,  Schroeder  states,  had  steadily 
opposed  every  petition  of  the  Ammergauers, 
but  who,  on  March  3,  1811,  was  chagrined 
to  find  that  the  royal  permission  was  set 
above  his  official  opposition.  It  was  during 
this  period  that  Weiss  further  revised  the 
Passion  language,  casting  it  into  more  lit- 
erary form. 

Oberammergau  had  thus  in  many  respects 
received  favourable  governmental  discrimi- 

*  In  Jean  Michel's  "  Resurrection,"  Christ  is  interrupted  in  His  dis-p 
course  by  drinking-songs.  An  interesting  field  of  study  is  the  devel* 
opment  of  the  French  fifteenth  century  "  fou."  See  De  Julie ville. 

[  xlviii  ] 


nation,  not  only  for  the  Passion  Play,  but 
for  the  secondary  dramas,  not  unknown 
during  the  intermediate  years,  such  as  the 
"  Kreuzesschule."  However  small  the  vil- 
lage, and  however  dependent  for  its  fame 
upon  a  single  custom,  in  its  local  history 
Oberammergau  was  not  lacking  in  distinc- 
tion or  in  communal  activity ;  the  inhab- 
itants, far  from  ranking  as  peasants,  often 
attained  comfortable  positions,  betokening 
considerable  wealth.  But  the  prosperity 
was  reflective  of  greater  activity  around; 
commercial  roadways  and  monastic  impor- 
tance were  the  brawn  and  sinew  of  the  civic 
life. 

It  is  only  necessary  foj  us  to  note  two 
additional  facts  in  the  history  of  Ober- 
ammergau. The  state  of  Germany  in  the 
eighteenth  century  was  marked  by  violent 
extremes  of  religious  thought  and  action; 
the  secularization  of  the  clergy  in  1803  was 
the  culmination  of  a  long  series  of  historical 
events,  and,  with  the  fall  of  Ettal,  the  judicial 
court  was  removed  from  Ammergau,  while 
commercial  depression  was  followed  by  the 
numbing  effects  of  war.  The  villagers  now 
turned  to  their  Passion  Play  to  save  them, 
but  its  production  in  many  respects,  while 

[xlix] 


it  brought  them  fame,  hardly  afforded  them 
pecuniary  gain  until  later  years.  In  1870, 
the  performance  was  interrupted;  some  of 
the  players,  including  Christus  Mayr,  went 
to  the  wars ;  that  is  why  the  decennial  regu- 
larity was  broken  by  the  production  of  1871. 

A  distinctive  feature  of  the  mediaeval  relig- 
ious drama  was  its  close  connection  with 
the  Church,*  being  enacted  within  the  church 
edifice,  until  its  increasing  scope  and  grow- 
ing popularity  forced  it  into  the  churchyard, 
thence  into  the  streets  and  fields.  Previous 
to  1830,  the  Oberammergau  Passion  Play 
was  performed  in  the  cemetery,  but  there- 
after it  was  removed  to  its  present  site, 
where  the  theatre  has  undergone  numerous 
modifications  and  doubtful  improvements. 
After  1830,  also,  the  fame  of  the  village 
began  to  attract  the  tourist;  this  was  due 
either  to  the  visits  of  royalty  or  to  the  de- 
scriptive data  about  the  drama  which  were 
being  published. 

In  1830,  on  its  removal  from  the  cemetery, 
the  strictly  personal  and  local  phase  of  the 

*  Jackson  writes :  "  In  a  hundred  ways,  indeed,  the  village  church 
is  a  preparatory  school  for  the  Ammergau  drama.  .  .  .  Among  the 
principal  occasions  when  .  .  .  processions  take  place,  we  may  men- 
tion Palm  Sunday,  Corpus  Christi,  and  a  day  devoted  to  thanks- 
giving, when  Mass  is  celebrated  at  Ettal." 

[1] 


Oberammergau  Passion  Play  departed;  by 
1840,  Ludwig  Steub,  Guide  Gorres,  and 
Baron  de  Roisin  had  written  their  comments 
and  impressions,  and,  in  1850,  Eduard 
Devrient  had  made  further  investigations. 
The  spread  in  interest,  international  after 
a  fashion,  did  not  escape  severe  criticism 
of  an  emotional  kind,  —  which,  if  it  served 
no  other  purpose,  prevented  a  popular  ef- 
fort to  commercialize  the  play  by  taking  it 
out  of  its  environment  and  bringing  it  to 
America. 

Four  ancient  texts  of  the  Oberammergau 
Passion  Play  have  been  published,  with  a 
carefully  analyzed  commentary,  by  Dr.  Au- 
gust Hartmann ;  they  indicate  an  interrela- 
tion of  a  character  reflective  of  the  processes 
of  mediaeval  growth  —  not  cyclic,  but  incor- 
porative.  By  their  evident  connection  they 
point  to  the  fact,  already  stated,  that  the 
drama  must  have  been  in  existence,  and 
most  probably  was  performed,  much  earlier 
than  1634;  Holland's  similar  belief  was 
founded  upon  the  rapidity  with  which  the 
Ammergau  peasants  put  their  vow  into 
execution. 

Recollecting  the  importance  played  by 
Augsburg  in  the  history  of  Oberammergau, 

[li] 


it  is  not  difficult  to  accept  Hartmann's  the- 
ory that  the  Ammergau  people,  in  1634,  had 
at  hand  the  Augsburg  text  of  St.  Ulrich  and 
Afra,  and  that,  with  such  text  as  a  basis,  the 
play  penned  by  the  meistersinger,  Sebastian 
Wild,  together  with  the  manuscript  credited 
to  "  Weilheim"  Johann  Albl  (circa  1609),  was 
incorporated,  thus  affecting  the  text  of  1662, 
which  is  the  principal  source  to  consider. 

Should  the  student  make  a  careful  com- 
parative study  of  the  early  Oberammergau 
texts,  it  would  be  necessary  for  him  to  have 
recourse  to  the  many  manuscripts  which 
bear  evidence  of  repeated  modification; 
every  decennial  "prompt-book"  contains 
the  record.  At  the  same  time  that  he  is 
indicating  these  changes,  there  should  be 
some  official  recording,  other  than  that  now 
preserved  in  the  expense  accounts  and  in 
isolated  notes,  of  the  "business"  inserted 
during  rehearsals.  Such  editing  should  be 
done,  not  so  much  for  its  artistic  value  —  since 
the  Passion  Drama  must  always  stand  on 
the  merits  of  its  last  production — as  for 
the  historical  interest  in  those  details  which 
measure  the  demands  of  advancing  time. 

In  no  way  has  the  text  of  the  Oberam- 
mergau Passion  Play  become  fixed,  and,  as 

[in] 


a  matter  of  fact,  the  music  has  been  sub- 
jected to  similar  modifications  which  are 
likely  to  continue  for  some  while.*  In  1750 
and  1760,  an  adaptation  of  the  drama  was 
made  by  Father  Rosner,  a  Benedictine,  and 
was  used  by  the  Ammergauers ;  this  version 
was  simplified  in  1780,  by  Father  Magnus 
Knipfelberger.  One  attempt  was  made  (see 
Sepp's  account  of  1850)  to  restore  a  mediae- 
val tone  to  the  play  by  adopting  an  over- 
rhythmic  verse. 

The  most  satisfactory  refinement  of  the 
text  was  accomplished  by  Father  Ottmar 
Weiss  (1810-1815),  a  version  which  con- 
tained a  prologue  attributed  to  one  Allioli. 
With  this  to  work  upon,  Daisenberger,  who 
was  Weiss's  pupil,  prepared  his  Alexandrine 
form,  which  deviated  from  his  teacher's 
book  not  so  much  in  fundamentals  as  in 
ornamental  accessories. 

Trautmann's  declarations  that  the  exist- 

*  Defenders  of  the  Passion  music  believe  that  it  has  been  hand- 
icapped by  an  inadequate  orchestra.  The  musical  conductor, 
Ferdinand  Feldigl,  has  written  a  pamphlet,  "Die  Oberammergauer 
Passionsmusik."  The  reader  is  likewise  referred  to  a  brochure  en- 
titled "Das  Passionsspiel  in  Oberammergau  von  Cyrill  Kistler," 
Munich.  Dedler's  original  score  was  mysteriously  spirited  away 
to  England.  The  chief  source,  therefore,  for  the  present  music 
is  Guziel's  manuscript  (1869),  based  on  an  altered  Dedler  score. 
The  1900  revision  was  done  by  F.  Feldigl  and  Ed.  Lang,  who 
resorted  to  Dedler's  church  music  for  additional  material.  See 
Diemer,  p.  150. 

[liii] 


ence  of  the  Passion  Play  of  Oberammer- 
gau  is  due  to  Jesuitical  influence,  that  in  its 
form  and  in  the  very  arrangement  of  its  stage 
it  was  reflective  of  the  Jesuit  school  of  art, 
are  vigorously  opposed  by  Madame  Die- 
mer,  on  the  ground  that  the  Passion  Play  is 
the  product  of  Germanic,  national  impulse. 
This  view  is  strictly  one  of  research  impor- 
tance and  has  no  direct  bearing  here. 

It  may  be  said  of  the  St.  Ulrich  and  Afra 
text  that  in  many  respects  it  is  typically 
mediaeval,  containing  the  humanism,  the 
realism,  and,  to  a  limited  extent,  the  theology 
of  the  Church  drama  of  the  period — a  theol- 
ogy, however,  neither  learned  nor  systema- 
tized. In  its  German,  also,  the  philologist 
will  find  sufficient  proof  to  place  the  manu- 
script in  the  fifteenth  century,  if  not  earlier. 

An  extended  examination  of  this  basic  text 
will  reveal  many  characteristics  common  to 
mediaeval  drama  in  general.  The  Procla- 
mator  is  a  replica  of  the  fifteenth  and  six- 
teenth century  prompter^  or,  as  the  French 
mysteries  styled  him,  meneur  du  jeu. 
Through  such  a  role  the  moral  significance 
of  the  play  was  explained,  largely  depend- 
ing for  effect  upon  anticipation  on  one  hand, 
and  upon  exhortation  on  the  other.  The 

[liv] 


later  developments  of  this  type  are  the  Doc- 
tour  in  the  morality  play,  "Everyman," 
and  the  Prologue  or  Chorus  in  such  chron- 
icle plays  of  Shakespeare  as  "Henry  V." 

Another  distinctive  feature  of  the  St.  Ul- 
rich  and  Afra  text  is  the  "after-piece"  which 
depicts  Christ  in  Hell,  where  His  forerunners 
— the  Prophet  group  of  early  dramas — await 
Him  for  their  salvation,  and  in  which,  after 
the  Ascension,  the  three  Maries  come  to  the 
grave  and  discover  the  stone  rolled  away. 

The  1662  text  begins  with  a  modified 
prologue  taken  from  Wild's  drama ;  it  then 
leans  very  heavily  on  the  St.  Ulrich  and 
Afra  version.  It  contains  the  character  of 
Satan,  who  generally  figured  in  the  Passion 
Play  previous  to  1750,  and  who  read  a  let- 
ter from  Lucifer  —  a  letter  aimed  to  counter- 
act the  good  effects  of  the  Prologue.  Hart- 
mann  carefully  considers  this  1662  text; 
to  him  I  would  refer  the  student.  Certain 
scenes,  as  given  in  this  manuscript  (the  orig- 
inal of  which  is  in  possession  of  G.  Lang 
sel.  Erben,  Oberammergau)  are  preserved 
in  the  present-day  version.*  All  of  this  text 

*  Madame  Diemer's  analysis  will  be  an  excellent  guide  for  the 
English  reader;  in  its  attitude  it  reveals  the  fact  that  there  are 
Ammergauers  not  at  all  satisfied  with  the  present  version  of  the 
Passion  Play. 

[Iv] 


evidence  will  some  day  be  gathered  in  ac- 
cessible variorum  form.  A  complete  critical 
examination  would  point  to  the  advisability 
of  reviving  some  of  the  ancient,  effective 
scenes  which  have  been  lost  or  discarded 
during  the  repeated  revisions  the  drama  has 
undergone. 

In  all  details  bearing  upon  the  text  and 
music  score  of  the  Passion  Play,  the  Am- 
mergauer's  dissatisfaction  evinces  an  in- 
nate opposition  to  modern  influence  —  an 
opposition  which  constitutes  its  preservative 
force.  External  dangers  likewise  are  re- 
garded askance;  Madame  Diemer  deplores 
the  tendency  toward  the  theatrical  in  the 
costuming,  in  the  acting,  and  in  the  intro- 
duction of  stage  machinery ;  she  regards  the 
amplification  of  the  theatre  as  a  menace 
which  threatens  the  pure  simplicity  of  the 
performance. 

By  1680,  the  Passion  text  of  1662  was  well 
defined.  To  quote  Blondel : 

"  Des  remaniements  moins  heureux  furent 
operes  au  cours  du  XVIII  siecle :  on  imagina 
des  episodes  demi-burlesques,  des  diableries 
de  mauvais  gout.  Des  personnifications  telles 
que  le  Peche,  1'Avarice,  1'Envie,  furent  intro- 
duites  dans  le  drame ;  Satan  y  joua  un  role 

[Ivi] 


considerable;  et,  pour  ne  citer  qu'un  trait, 
des  entrailles  de  Judas  pendu  (sous  forme 
de  mannequin)  s'echappaient  des  saucisses 
que  des  diablotins  devoraient  avec  avidite: 
tel  etait  le  gout  du  temps." 

The  morality  characteristics  referred  to 
were  inserted  by  Father  Rosner. 

If,  according  to  Trautmann,  it  is  difficult 
to  conceive  of  the  Oberammergau  Passion 
Play  as  being  enacted  on  the  storied  pageant 
wagon,  it  is  not  so  difficult  to  imagine  the 
early  stage  to  have  been  constructed  on  the 
same  principle  as  the  "  stations "  which,  in 
France,  assumed  such  large  proportions. 
The  1547  Passion  Play  at  Valenciennes,  as 
described  by  De  Julleville  (see  the  diagram 
in  Gayley),  is  a  representative  type.  There 
is  much  evidence  to  sustain  this  opinion,  the 
central  "  station "  or  stage  being  the  only 
one  upon  which  scenery  was  moved. 

So  complicated  and  delicate  have  the  ar- 
rangements now  become  for  the  Crucifixion 
scene,  that  an  inner  stage,  directly  behind 
and  conjoined  with  the  central  one,  being 
concealed  therefrom  by  a  drop  curtain,  is 
required  for  the  preparations  which  were 
once  realistically  made  in  full  view  of  the 

audience.      The  role  of  Christus  is  so  exact- 
On] 


ing  upon  the  actors  that  many  have  fainted 
on  the  cross,  overcome  with  exertion  and 
emotional  strain.  Anton  Lang  himself  has 
described  the  awful  moment  when  one  of 
the  bands  giving  support  to  his  extended  arm, 
slipped,  forcing  him,  through  the  long  Cruci- 
fixion scene,  to  hold  his  arm  rigid  by  sheer 
muscular  exertion. 

Bearing  in  mind  every  possible  accident 
that  might  befall  the  Christus,  it  is  not  sur- 
prising to  find,  in  the  text-book  of  the  Passion 
Play  for  1815,  the  following  precautionary 
directions : 

"They  now  remove  the  rope  from  his 
feet,  and  bind  him  with  strips  of  linen  round 
the  body,  hands,  and  arms,  round  the  breast 
and  loins,  so  that,  should  he  become  uncon- 
scious, he  will  not  fall  from  the  cross." 

The  variations  in  the  different  decennial 
texts  suggest  stage  variations  and  changes 
in  costumes.  There  has  been  no  systematic 
cataloguing  of  these,  and  so  the  student  in 
the  future  will  have  to  be  given  access  to 
the  community  account-books  recording  the 
extensive  details  and  enormous  proportions 
of  the  spectacle.  The  examination  of  these 
early  stage  directions  will  throw  valuable 
light  on  the  question  as  to  how  much  actual 

[Iviii] 


dependence  Oberammergau  placed  upon 
Augsburg  and  Nuremberg  in  her  prepara- 
tions until  1811. 

It  was  then  that  Weiss  encouraged  the 
beneficiary,  Unhoch,  in  his  planning  of  a 
new  theatre,  for  Weiss's  text  called  for  the 
stage  innovations.  About  the  year  1815,  the 
Ammergauers  purchased  costumes,  where 
heretofore  their  chief  resource  had  been  the 
neighbouring  convents,  which  had  loaned  the 
necessary  vestments  to  them.  The  entries 
of  expense  are  as  full  of  local  colour  as 
one  finds  in  the  mediaeval  gild  records  — 
and  some  of  them  are  as  naively  ingenuous. 
Madame  Diemer,  in  most  points  antagonis- 
tic to  the  critic's  claim  that  the  Passion 
Play  was  subject  to  Jesuitical  influence,  in 
respect  to  the  costumes  does  grant  that  the 
priest's  hand  is  evident.  The  expense- 
books,  now  the  concern  of  the  Town  Coun- 
cil, were  once  regularly  subjected  to  a  strict 
judicial  examination. 

When  Daisenberger  was  appointed  pas- 
tor of  Oberammergau  in  1845,  he  began  his 
revision  of  Father  Weiss's  text,  devoting 
himself  chiefly  to  the  lyrical  interpolations. 
In  Oberarximergau  history  there  are  many 
instances  of  authors  submitting  texts  for 

[lix] 


presentation  in  place  of  the  old  versions, 
and,  in  1888,  the  matter  took  official  pro- 
portions when  the  Government  of  Upper 
Bavaria  determined  that  the  Passion  Play 
needed  new  text  and  new  music,  —  in  fact,  a 
complete  new  setting,  —  all  to  be  done  by 
Munich  artists,  Frau  v.  Hillern  *  to  prepare 
the  prose  text.  But  the  latter  sensibly  real- 
ized that  no  change  of  any  kind  might  be 
forced  upon  the  Ammergauers,  and  the 
Government  finally  relinquished  the  idea. 
Nevertheless,  as  an  evident  compromise, 
the  vocal  text  was  altered  and  made  less 
tedious. 

Nowhere  has  modern  innovation  had  such 
a  marked  influence  as  in  the  mechanical 
aspects  of  the  Passion  Play.  If  Munich  has 
not  yet  been  able  to  upset  tradition  and  to 
replace  the  old  with  a  "  made-to-order  "  text, 
she  has  encroached  on  the  external  details 
which,  until  1880,  in  conception  as  well  as 
in  manufacture,  had  remained  almost  entirely 
in  the  hands  of  the  villagers. 

Munich  architects  and  Viennese  scene- 
painters  transformed  the  Passion  stage  in 
1890,  adapting  to  its  particular  needs  devices 
used  in  the  Munich  Court  Theatre.  In  1900, 

*  Mother  of  Madame  Diemer,  the  author  we  have  been  quoting. 

[1*3 


the  hall  of  the  Passion  Theatre  was  con- 
structed, six  iron  arches  forming  the  visible 
skeleton  for  an  auditorium  enclosed  in  the 
manner  of  large  Exposition  buildings  — 
stucco  being  replaced  by  a  combination  of 
wood  and  canvas. 

The  guide-books  contain  sufficient  de- 
scriptions of  the  theatre  to  make  a  repetition 
unnecessary  here  ;  nevertheless,  two  special 
items  should  be  commented  upon.  The 
seating  capacity  of  the  theatre  for  each 
performance  is  distributed  as  follows: 


I. 

1598    seats    @    10  marks.* 

II. 

496 

tt 

8 

M 

III. 

544 

n 

"       6 

M 

IV. 

668 

M 

"       4 

" 

V. 

656 

M 

"         2 

" 

VI. 

14 

M 

Royal. 

3976      " 

On  reading  De  Julleville,  the  amplitude  of 
the  Oberammergau  auditorium  decreases 
when  one  finds  the  statement  that,  in  1490 
at  Reims,  a  Crucifixion  play  was  produced 
before  16,000  people.  The  same  authority 
also  states  that  at  Auton,  in  1516,  a  theatre 
was  erected  by  the  Church  and  the  citizens, 
capable  of  seating  80,000  people.  But  the 

*  24  cents. 
[Ixi] 


record  does  not  indicate  whether  this  calcula- 
tion was  based  on  one  day's  attendance,  or 
included  the  series  of  days  through  which 

/the  lengthy  drama  was  enacted.  As  far  as 
Oberammergau  is  concerned,  the  number  of 
seats,  with  three  hundred  standing-room 
added,  must  be  multiplied  by  the  number 
of  performances.  The  Passion  is  played  on 
Sundays,  from  May  through  September; 
sometimes,  if  the  attendance  warrants  it, 
additional  dates  are  announced  during  the 
week.  In  all,  counting  the  dress  rehear- 
sal, there  were  twenty-eight  performances 
in  1900. 

V  The  general  details  of  the  Passion  Play 
"barn"  have  now  to  be  conducted  in  ac- 
cordance with  modern  theatre  ideas.  The 
old  unconscious  quaintness  has  been  lost 
beneath  the  decorative  richness  and  the 
mechanical  perfection  which  centre  in  a 
stage  realism  far  from  simple.  The  years  to 
come  will  witness  an  interesting  struggle  in 
which,  it  is  to  be  hoped,  the  deepening  of 
a  community  spirit  in  the  civic  body  will 
offset  the  threatening  commercialization  of 
the  performance. 

From  reportorial  sources  I  quote  the  pro- 
ceeds and  expenditures  of  the  1890  Passion 

[Ixii] 


Play,  so  as  to  suggest  some  idea  of  what 
profits  accrue  from  the  decennial  "  business/' 
as  it  is  called : 

STATEMENT    ISSUED    BY    THE 
BURGERMEISTER* 

1890 
RECEIPTS  Marks 

1.  Tickets   of   admission  .    .  , 665,719.50 

2.  Sale  of  Photographs 27,000.00 

3.  Other   Sources 2,004.57 


694,724.07 
EXPENSES 

1.  Interest  on  acquired  funds 6,527.60 

2.  Building  expenses,  including  material  .  199,668.85 

3.  Salaries  for  Play  (747  members)   .    .    .  242,830.00 

4.  Distribution  to  238  householders,  180  m, 

each 42,840.00 

5.  Distribution  to  29  families,  100  m.  each        2,900.00 

6.  Communal  purposes : 

New  hospital,  sewers,  water  supply, 
roads,  river  banks,  fire-engines,  relief 
of  soldiers,  relief  of  poor,  etc 99»397«oo 

7.  Other  communal  purposes : 

Fund  for  hospital,  articles  for  church, 
increase  of  teachers'  salaries,  river 
banks,  public  lands,  technical  educa- 
tion, canals 100,000.00 

8.  Reserve 560.62 


694,724.07 

*  Published  in  the  New  York  Nation. 
[Ixiii] 


The  Oberammergau  Passion  Play  —  a 
product  of  so  many  hands  —  is  nevertheless 
usually  identified  in  the  mind  of  every  true 
Ammergauer  with  three  names.  There  was 
Father  Ottmar  Weiss  (1769-1843),  of  Ettal, 
who,  when  the  monastic  secularization 
occurred,  devoted  himself  to  teaching  in 
Oberau,  and  then  did  his  work  on  the 
Passion  text;  there  was  Rochus  Dedler 
(1779-1850),  schoolmaster  and  composer,  in 
which  latter  capacity  his  tradition  domi- 
nates Oberammergau  to-day;  and  finally, 
there  was  the  beloved  Geistlicher  Rath 
Joseph  Alois  Daisenberger  (1799-1883), 
whose  priestly  duties,  varied  and  energetic, 
did  not  prevent  him  from  devoting  much 
time  to  literary  labours.* 

The  preacher,  the  schoolmaster,  and  the 
woodcarver  constitute  the  professional  fig- 
ures in  Oberammergau,  for  in  no  essential 
should  the  participators  in  the  Passion  be 
regarded  as  theatrical  devotees,  however 
much  the  Judas  of  Gregor  Lechner  (1870) 

*  Daisenberger's  other  dramas,  many  of  them  given  production 
in  the  training  theatre,  are  as  follows  :  "  Theodolinde,"  "  Otto  von 
Wittelsbach,"  "  Kaiser  Ludwig  der  Baier ;  oder,  Die  Stiftung  des 
Klosters  Ettal."  The  religious  dramas  are:  "Der  Agyptische  Jo- 
seph," "Naboth,"  "Judith,"  "Genoveva,"  etc.  His  Passion  Play 
was  not  performed,  though  parts  of  it  have  been  used. 

[Ixiv] 


be  remembered  as  the  height  of  dramatic 
art.  These  men  who  play  their  parts  have 
a  large  sense  of  the  calling  which  forms  so 
vital  a  proportion  of  their  life-work;  they 
are  always  keenly  intent  on  improving  the 
community  spirit  in  accordance  with  their 
tradition  rather  than  with  the  current  time, 
and  in  their  conception,  they  seek  true 
feeling,  which  in  some  respects  is  above  v 
the  subtlety  of  conscious  art. 

Daisenberger's  sermons,  as  simple  as  his 
letters,  show  no  superiority  of  temper,  but  a 
fervour  suitable  to  the  congregation  before 
him.  His  appeal  to  his  player  friends 
shortly  before  the  Passion  Play  was  what 
one  might  expect  of  a  pastor  to  his  flock 
—  the  same  simple  purpose  and  marked 
sincerity  which  prompt  the  Ammergauers 
when  they  hear  what  roles  have  been  as- 
signed to  them  by  the  community  Council. 

These  appointments  are  usually  made 
some  time  before  the  actual  period  of  re- 
hearsal; the  elections  for  1900  were  held 
in  December,  1899.  One  may  imagine  the 
feelings  of  Mayr  when  the  mantle  of 
Christus  fell  from  his  shoulders;  worse 
still  the  feeling  of  Johann  Zwink,  son  of 
the  famous  painter,  when,  after  playing  St. 

[Ixv] 


John,  he  found  himself  cast  for  Judas. 
It  would  sometimes  appear  as  though 
these  electors  tried  not  only  to  estimate  the 
player's  ability  to  act  the  role,  an  ability 
which  a  smaller  theatre  develops  during 
intermediate  years  between  the  Passion 
decades,  but  likewise  that  they  attempted  to 
strengthen  individual  weakness  by  spiritual 
requirement.  The  one  tremendous  failing  of 
Josef  Mayr  was  his  temper,  which  mounted 
to  heights  of  ungovernable  rage;  imagine 
the  psychology  which  entered  into  his 
preparation  for  the  part  of  Christ! 

IV 

The  chief  charm  of  Oberammergau  is 
its  hold  upon  mediaevalism  in  the  richest 
sense.  It  is  unnecessary  to  question  the 
literary  value  of  the  play  as  a  genre,  since 
its  weight  is,  or  rather  should  be,  spiritual. 

/    The    Ammergauers    live    to    ripe  old   age; 

V  they  become  veritable  patriarchs,  physically 
adapted  to  Bible  roles.  Such  men  as  Sebas- 
tian Deschler  and  Jakob  Hett  and  Biirger- 
meister  Lang  are  purveyors  of  tradition ;  in 
fact,  all  Oberammergau  draws  its  life  from 
tradition.  That  is  why  it  is  essential  to 

[Ixvi] 


realize  the  connection  between  the  past  and 
present,  and  it  is  the  fear  that  some  day  the 
gap  between  mediaevalism  and  modernism 
will  become  impossible  to  bridge  that  dis- 
turbs the  true  lovers  of  the  Passion  Play. 
What  it  means  to  the  individual  depends 
upon  the  attitude  of  the  individual;  there 
is  little  critical  comment  of  a  literary  nature 
to  be  made  upon  the  materials  which  are  at 
the  basis  of  a  religion.  Probably  one  might 
detect  in  the  Passion  Play  a  determined 
unification  of  events  for  the  purpose  of 
accentuating  the  designs  of  the  Jews,  —  a 
motivation  outside  of  the  Bible  intent, — 
and  a  careful  delineation  of  Judas,  around 
whom  some  of  the  most  powerful  stress  of 
the  play  centres ;  otherwise  the  drama  fulfils 
its  initial  mission.  It  is  externalized  for  the 
purpose  of  inward  effect;  its  art  phases 
should  strive  to  re-create  the  Bible  story. 
If  this  is  accomplished,  then  the  Passion 
Play,  as  a  survival*  satisfies  one  of  the 
essential  requirements  of  the  early  religious 
drama. 

*  As  an  offshoot  of  the  Oberammergau  Passion  Play,  we  should 
note  the  Swiss  Passion  Play,  as  given  since  1890  at  Selzach.  Other 
minor  examples  are  likewise  to  be  found,  but  they  are  sporadic  efforts 
to  reproduce,  rather  than  a  growth  emanating  from  the  very  life 
of  a  people. 

[Ixvii] 


In  preparing  this  translation  of  the  Pas- 
sion Play,  I  have  relied  chiefly  upon  the 
German  of  three  texts :  that  of  Daisenberger, 
edited  by  Professor  Brentano ;  W.  T.  Stead's 
stenographic  reproduction  of  the  dialogue; 
and  the  Huttler,  Fischer  edition  of  1890 
(Munich).  I  wish  here  to  take  the  oppor- 
tunity of  expressing  my  indebtedness  to 
Dr.  August  Hartmann's  "  Das  Oberammer- 
gauer  Passionsspiel  in  seiner  altesten  Ge- 
stalt"  and  to  Walter  S.  Manning's  transla- 
tion of  Hermine  Diemer's  (nee  von  Hillern) 
"  Oberammergau  and  its  Passion  Play." 
It  is  a  pleasure  to  acknowledge  also  the 
courteous  assistance  given  me  by  the  New 
York  Astor  Library,  Harvard  University, 
Columbia  University,  Mr.  Louis  How,  and 
Mr.  Samuel  M.  Weller. 

MONTROSE  J.  MOSES. 


[Ixviii] 


THE   PASSION   PLAY 


THE  PASSION  PLAY 


FIRST  DIVISION 

From  the  entrance  of  Christus  into  Jerusalem  until  the 
moment  of  His  being  taken  prisoner  on  the  Mount 
of  Olives, 

I.   REPRESENTATION 

Prologue 

CHORUS    (Choragus).     Bend    low,  bend    low    in 

holy  love, 

God's  curse  hath  bowed  an  humbled  race. 
Peace  unto  you!     From  Heaven  above, 
Where  righteous  wrath  in  justice  reigns, 
Yet  pales  before  the  touch  of  grace, — 
So  saith  the  Lord,  "  Eternal  pains 
Of  Death  from  the  Sinner  I  release. 
I  will  forgive  —  he  shall  have  peace !  " 
Thus  came  His  Son  to  free  the  world.    OH,  praise 
To  Thee  we  raise, 
And  thanks,  Eternal  One. 
Thus  came  His  Son! 

i  [i] 


TABLEAU :    The  Expulsion  from  Paradise 


THE   EXPULSION 

This  first  picture  serves  as  an  introduction.  Adam  and 
Eve  after  their  temptation  are  driven  from  the  Garden 
of  Eden. 

CHORAGUS.     Man  is  doomed  from  Eden's  plains 

to  wander, 

In  darkest  sin  his  soul  to  live;   on  death  to  ponder. 
The  path  to  the  Tree  of  Life  to  him  denied, 
By  the  flaming  sword  defied, 
Yet  from  the  heights  where  hung  the  Crucified  — 
Sifts  through  the  gloom  a  morning  glow! 
Yonder  the  Tree  of  the  Cross  from  whither  softly! 

blow 
Paeans  of  peace  to  all  the  world  below. 

CHORUS.     God    All-Merciful,    Thou    Pardoner 

supernal ! 

Of  them  who  scorned  Thy  word  at  every  breath, 
Exalting  the  Sinner  to  the  way  eternal, 
Thou  gavest  Thy  Son  in  death! 


TABLEAU  :    The  Adoration  of  the  Cross 


THE  ADORATION 

The  second  picture  represents  the  Adoration  of  the  Cross, 
with  tittle  children  dressed  as  Cherubim. 

CHORAGUS.     Hearken,   Lord,   unto   Thy   people 

bending, 

Even  as  little  children  who  come  before  Thee ; 

[2] 


To  the  great  Sacrifice  their  footsteps  wending, 
In  reverent  awe,  Thy  people  all  adore  Thee. 

CHORUS.    Follow  now  the  Saviour's  way, 
Along  the  roughened  thorn-path  leading  — 

Bearing  for  us  in  the  fray, 
Suffering,  and  for  us  bleeding! 


ACT  I 

o 

THE   ENTRY   INTO  JERUSALEM 

Christus  enters  Jerusalem  amidst  loud  rejoicing  from  the 
throng,  and  drives  the  money-lenders  from  the  Temple. 

FIRST   SCENE 

Men,  Women,  and  Children;  then  Christus  and  the  Apostles, 
followed  By  a  crowd —  advancing  from  the  background. 

CHORUS.     Hail,  Son  of  David,  we    raise    songs 

to  Thee! 
Hail,  Thy  Father's  throne  belongs  to  Thee ! 

To  Thee  belongs ! 

In  God's  holy  Name  You  come  a  light  to  give  — 
In  God's  Holy  Name  You  grant  us  right  to  live  — 
To  Thee,  O  Son  of  David,  we  raise  songs. 

HALF  CHORUS  A.     Hosanna!     God  in  Heaven 

hear  us ! 
Bestow  unto  the  Son  of  David  grace. 

HALF  CHORUS  B.    Hosanna!    Enthroned  above, 

yet  ever  near  us, 
Grant  us  eternally  to  see  Thy  face! 

CHORUS.    Hail  to  Thee!    Hail  to  Thee! 

[3] 


H.  C.  A.    Blessed  be  to  Him  who  gives  once  more 
Unto  the  people  and  their  kingdom  trembling; 

H.  C.  B.    Bless  ye  the  Son,  exalt  Him,  and  adore 
The  Son  on  high,  the  Lord  our  God  resembling ! 

CHORUS.    Hail  to  Thee!    Hail  to  Thee! 

H.  C.  A.    Hosanna  to  the  Son,  our  own  — 
Hearken,  ye  winds,  and  sound  the  song  abroad! 

H.  C.  B.  Hosanna!  there  upon  His  Father's  throne, 
He  will  deliver  the  Message  of  the  Lord! 

CHORUS.    Hail  to  Thee!    Hail  to  Thee! 

SECOND   SCENE 

Christus,  the  Apostles,  and  People;  Priests,  Pharisees,  and 
Money-changers  within  the  portico  of  the  Temple. 

CHRISTUS.  What  see  I  here?  Thus  would  you 
dishonour  the  abode  of  My  Father.  Is  this  God's 
House?  or  is  it  naught  to  you  but  a  market-place? 
How  can  the  Strangers  who  come  from  out  the  land 
of  the  heathen  perform  their  devotions  here  in  such 
a  throng  of  usurers?  And  you  who  are  priests  and 
guardians  of  the  sanctuary!  —  you  see  this  abomina- 
tion and  yet  you  endure  it !  Woe  unto  you !  He  who 
fathoms  the  heart  well  knows  why  you  yourselves 
sanction  such  outrage. 

MONEY  CHANGERS.    Who,  forsooth,  is  this? 

THE  PEOPLE.  It  is  the  great  Prophet  from  Naz- 
areth in  Galilee. 

CHRISTUS  (approaching  the  dealers)-  Away  from 
here,  Servants  of  Mammon!  I  bid  you  go!  Take 
what  is  yours,  and  leave  this  holy  place! 

[4] 


RABBI.  See  the  fire  in  His  eye;  I  cannot  endure 
Him. 

EPHRAIM.  Come,  let  us  depart,  that  His  wrath 
may  not  completely  undo  us.  [Departing  in  awe;  the 
others  hesitate. 

JOSUE.    Why  do  you  interfere  with  these  people? 

EZEKIEL.  This  place  has  been  specially  set  aside 
for  the  sacrifice. 

SAD  OK.  How  can  you  forbid  what  the  High 
Council  allows? 

BOOZ.  Shall  we  no  longer  be  permitted  to  make 
sacrifice  here? 

CHRISTUS.  Outside  the  Temple  there  are  many 
places  for  your  business.  My  house,  so  saith  the 
Lord,  shall  be  called  a  House  of  Prayer  for  all!  But 
you  have  made  it  a  den  of  thieves.  (Overturning  the 
Tables.)  Away  with  all  this! 

RABBI.    It  cannot  be.    You  dare  not  do  thus ! 
KOAN  (a  Trader).    My  gold,  ah,  my  gold! 

DATHAN  (a  Trader).  My  doves!  [The  doves 
fly  away. 

ABIRON  (a  Trader).  Who  will  restore  this  loss 
to  me? 

CHRISTUS  (striking  out  with  a  lash).  Hence!  It 
is  my  will  that  this  profaned  Temple  be  onre  more 
restored  to  the  worship  of  the  Father!  [The  Traders 
withdraw,  some  in  fear,  others  menacingly. 

SAD  OK.  Tell  us,  by  what  authority  do  you  so 
command? 

[5] 


AMON.  Through  what  miraculous  sign  are  you 
able  to  show  the  power  you  have  to  do  this? 

CHRISTUS.  You  ask  for  a  miracle?  Verily,  one 
shall  be  given  you.  Destroy  this  Temple  here,  and 
in  three  days  will  I  have  it  again  rebuilt. 

RABBI.     What  boasting,  what  insolent  speech! 

AMON.  Six  and  forty  years  was  this  Temple  in 
the  building,  and  you  would  do  it  in  three  days! 

CHILDREN.  Hosanna!  Hail  to  the  Son  of 
David! 

PEOPLE.  Glory  be  to  Him  who  comes  in  the 
name  of  the  Lord! 

RABINTH.    Hear  you  what  these  people  cry? 
DARIABAS.    Forbid  them! 

CHRISTUS.  I  say  unto  you:  If  these  were  silent, 
then  would  the  very  stones  cry  out. 

CHILDREN.    Hosanna  to  the  Son  of  David! 
PHARISEES.    Be  silent,  you  foolish  ones! 

CHRISTUS.  Have  you  not  read:  Out  of  the 
mouths  of  babes  and  sucklings  you  have  made  ready 
your  praise?  That  which  is  hidden  from  the  proud 
is  revealed  unto  the  little  children.  And  the  Scrip- 
tures must  be  fulfilled :  The  stone  which  the  workmen 
rejected  has  become  the  corner-stone.  The  Kingdom 
of  God  shall  be  taken  from  you,  and  it  shall  be  given 
unto  those  people  who  will  bring  forth  fruit.  But 
that  stone  —  whosoever  falls  upon  it  shall  be  bruised, 
and  on  whomsoever  it  falls,  he  shall  be  crushed  to 
pieces.  Come,  my  Disciples!  I  have  done  what  the 

[6] 


Father  has  commanded  of  me.  I  have  vindicated  the 
honour  of  His  house.  The  gloom  remains  gloom ;  but 
in  many  hearts  will  it  soon  be  day.  Let  us  within  the 
Temple,  and  there  pray  to  our  Father  in  Heaven. 
[They  go. 

PEOPLE.     Praise    be    to    the    Anointed     One! 
Hosanna ! 

PRIESTS.     Be  silent,  you  contemptible  beings! 

PHARISEES.    You  will  all  be  ruined  along  with 
Him! 

PEOPLE.     Blessed   be   the    Kingdom   of    David, 
which  shall  again  shine  forth! 


THIRD    SCENE 
Priests  and  People 

NATHANAEL.  Whoso  continue  true  to  our 
Fathers  Abraham,  Isaac,  and  Jacob,  let  them  remain 
with  us!  Upon  all  others  fall  the  curse  of  Moses! 

RABBI.  He  is  a  misleader!  an  enemy  of  Moses 
—  an  enemy  to  the  Holy  Law! 

PEOPLE.  Why  then  did  you  not  lay  hold  on  Him? 
Is  He  not  a  Prophet?  [Some  of  the  multitude  follow 
Cbristus. 

PTOLEMAUS.  Away  with  the  Prophet! 
RABBI.  He  is  a  teacher  of  false  doctrine! 
SAD  OK.  A  heretic  —  an  enemy  of  Moses! 

JOSAPHAT.  An  enemy  to  the  traditions  of  our 
Fathers!  A  deceiver! 

[7] 


PEOPLE  (again).    Why  did  you  not  seize  Him? 

NATHANAEL.  Oh,  you  blind  people!  Would 
you  indeed  follow  this  new  One,  would  you  forsake 
Moses,  the  Prophets,  and  your  Priests?  Do  you  not 
fear  that  the  curse  hurled  by  the  Law  against  this 
faithless  creature  will  crush  you?  Would  you  will- 
ingly cease  to  be  Jehovah's  Chosen  People? 

PEOPLE.  Indeed,  no!  That  is  far  from  our 
minds ! 

NATHANAEL.  Who  guards  the  purity  of  the 
Teacher?  Is  it  not  the  holy  Sanhedrin  of  the  People 
of  Israel?  Which  would  you  heed  —  us  or  Him  who 
has  proclaimed  Himself  the  Prophet  of  a  new  faith? 

PEOPLE.  We  will  hearken  unto  you,  we  will 
follow  you ! 

SADOK.  The  God  of  our  Fathers  will  bless  you 
for  this. 

NATHANAEL.  Now  then!  This  Man,  so  full  of 
deceit  and  of  error,  hastens  to  His  ruin! 

PEOPLE.  Yes,  we  will  stand  by  you!  We  are 
the  followers  of  Moses! 


FOURTH   SCENE 

The  Traders,  with  their  chief,  Dathan,  enter,  weeping 
and  moaning. 

TRADERS.  This  insult  must  not  remain  unpun- 
ished. Come,  let  us  hasten  retribution.  Vengeance, 
vengeance ! 

DATHAN.  He  shall  pay  dearly  for  His  brazen 
manner ! 

[8] 


BOOZ.  Gold,  oil,  salt,  doves  —  He  must  pay  us 
for  the  loss  of  all !  Where  is  He?  He  shall  know  our 
wrath ! 

JOSUE.    He  is  there  within  the  Temple! 
PRIESTS.    He  has  gone  away! 
TRADERS.    We  will  after  Him. 

NATHANAEL.  Hold,  friends!  The  followers  of 
yonder  Man  and  His  Disciples  are  yet  too  many.  Your 
meeting  with  them  now  might  cause  a  disastrous 
struggle  which  would  be  stopped  by  the  sword  of 
the  Roman.  Trust  to  us.  He  shall  not  escape 
punishment ! 

PRIESTS.    With  us,  for  us  —  that  is  your  salvation. 
SADOK.    His  downfall  approaches. 
ALL.    Our  triumph  is  near. 

NATHANAEL.  We  go  now  to  inform  the  High 
Council  of  this  day's  happenings. 

TRADERS.  We  will  go  with  you;  we  would  have 
satisfaction. 

NATHANAEL.  Nay,  in  an  hour's  time  come  to 
the  outer  court  of  the  High  Priest's  house.  In  the 
meanwhile  I  will  bring  your  grievances  before  the 
Council  and  will  plead  eloquently  in  your  favour.  At 
the  right  moment  you  shall  be  called.  [  The  priests  go. 

TRADERS  AND  PEOPLE  (moving  off  stage). 
We  have  Moses!  Down  with  all  others!  We  are 
faithful  to  the  death  unto  the  Law  of  Moses!  Praise 
be  to  our  Fathers  and  to  our  Fathers'  God! 

END    OF   ACT 

[9] 


II.    REPRESENTATION 

The  Plot  of  the  High  Council 

Prologue 

CHORAQUS.     Greetings  be  unto  you  all,  who  in 

love  are  gathered  here, 
Gathered  round  the  Saviour  mourning,  you  who  come 

from  far  and  near, 
Fain  to  follow  on  the  thorn-path,  fain  to  suffer  in  His 

doom, 
Through  the  trial  and  the  torture,  from  the  cross  unto 

the  tomb. 

Oh,  ye  people  now  assembled,  followers  from  sea  to 

sea, 
Prompted  by  the  love  of  brothers,  bound  as  one  in 

unity, 
One  in  faith  and  one  in  feeling,  one  in  love  for  Him 

who  died, 
Him  who  bore  the  cross  and  suffered,  Christ  who  is 

the  Crucified! 

Who  in  pity  for  the  Sinners,  chose  Himself  the  world 

to  save, 
Leaving  life  unto  the  living,  for  the  life  beyond  the 

grave  — 
Toward  Hun  turn  your  countenances,  toward  Him 

turn  your  hearts  in  praise, 
Turn  your  hearts  in  deep  thanksgiving,  and  your 

countenances  raise! 

[10] 


For,  behold,  the  Cup  of  Sorrow  overflows  the  beaker's 

brim, 
While  the  bitter  force  of  envy  holds  the  bitter  dregs 

for  Him. 
Avaricious  ones  conspire,  breathing  hate  with  every 

breath, 
Hate  that  only  breeds  destruction,  avarice  that  knows 

but  death! 

Even  as  when  Joseph's  brothers  all  the  bonds   of 

blood  defied, 
Prompted  by  the  thoughts  of  murder  to  the  verge  of 

fratricide, 
Even   now,   the   priestly  Council,   met  to   stem  the 

Prophet's  sway, 
Spurs  itself,  by  false  deception,  to  put  Death  within 

His  way. 

LEADER  OF  THE  CHORUS  (Ckoragus.   Recit.). 
Intent  on  the  blasphemous  deed,  they  depart. 
The  mouth  hath  proclaimed  what  was  hid  in  the  heart ! 
The  sting  of  their  consciences  hastens  their  blunder, 
The  masks  from  their  faces  are  now  rent  asunder! 

CHORUS.     Away!    Let  us  go  to  reap  vengeance, 

they  cry, 
Our  work  we  must  do ;  He  must  die,  He  must  die ! 

TABLEAU:  The  Sons  of  the  Patriarch  Jacob  plot  as  to 
bow  their  younger  brother  Joseph  is  to  be  put  out  of  the 
way.  Gen.  37:  18.  Joseph  symbolizes  the  humiliation 
and  exaltation  of  Christ :  like  Jesus,  he  is  the  beloved 
son  of  his  father,  and  so  his  brothers  would  quickly 
despatch  him ;  hated  by  them,  insulted,  his  'very  coat 
taken  from  him,  he  is  sold  to  the  stranger  for  a  single 
piece  of  silver. 

["I 


CHORAGUS.    O  God!  we  would  enter  the  sancti- 
fied temple  of  prayer; 
Of  that  which  occurred  in  the  Past  we  are  all  made 

aware. 
Even  as  Jacob's  cruel  sons  did  conspire, 

So,  in  blind  ire, 

O  God,  will  be  heard  the  murderous  cry: 
He  must  die!     He  must  die! 

SOLO  (Tenor).    Behold  the  dreamer, 
False  teacher,  blasphemer, 

Our  King! 

Away  with  this  vision, 
This  Man  of  derision! 

Come,  fling 

What  we  hate  to  the  depths  of  yon  pool, 
And  there  let  Him  rule! 

SOLO  (Bass).    Thus,  thirst 

The  brood  accurst! 
He  is  against  our  people  —  Let  Him  die ! 

They  cry. 
The  honour  of  our  faith  is  in  danger 

Of  this  Stranger. 

For  the  world  is  filled  with  those  who  pray 
To  follow  Him;  who  travel  not  our  way! 

DUET.    Come,  let  us  hasten  to  slay  Him! 
Let  us  capture  and  flay  Him! 
No  one  from  Death  can  stay  Him! 

Come,  come ! 

Away !  to  our  purpose  stand  fast. 
Away !  for  His  glory  is  past. 
Away!  for  the  die  is  cast. 

Come,  come! 


CHORUS.     O  God,  destroy  this  wanton  band, 
Which  seeks  to  bind  Thy  righteous  hand; 
Which  comes,  with  jibe  and  jeer,  to  kill, 
To  murder,  to  oppose  Thy  will! 

Let  them  feel  Thy  holy  wonder  — 
Flash  of  lightning,  roar  of  thunder  — 
Of  Thy  power  let  them  know  — 
In  Thy  might,  oh,  bend  them  low! 

For  He  came  not  to  destroy, 

God  the  Father,  Thou  above! 
His  the  mission  to  bring  joy 

To  the  Sinner,  Grace  and  Love! 

We  before  Thy  throne  incline, 
In  humility  are  Thine, 
Bless  Thy  passion,  Thy  design, 
God,  the  Father,  the  Divine ! 


ACT   II 

The  High  Council  decides  to  take  the  Christus  captive. 

FIRST   SCENE 
The  Assembly  of  the  High  Council 

CAIAPHAS.  Venerable  Brothers,  Fathers,  and 
Teachers  of  the  people!  An  extraordinary  occurrence 
is  the  immediate  object  of  this  present  meeting. 
Learn  of  it  from  the  mouth  of  our  worthy  brother. 

NATHANAEL.  Have  I  your  permission,  wise 
Fathers,  to  speak? 

ALL.    Yes,  worthy  priest. 
[13] 


NATHANAEL.  Wonder  not  then  that  you  are 
convoked  at  so  late  an  hour  for  deliberation.  You 
know  what  we  to  our  shame  have  witnessed  to-day 
with  our  very  eyes.  You  have  seen  the  triumphal  way 
of  the  Galilean  through  the  streets  of  the  Holy  City! 
You  have  heard  the  Hosannas  of  the  infatuated  people ! 
You  have  perceived  how  the  haughty  One  arrogated 
unto  Himself  the  dignity  of  the  High  Priest,  and1 
dared,  as  Master,  to  rule  in  the  Temple  of  Jehovah! 
What  could  more  unerringly  hasten  the  upheaval  of 
all  State  and  ecclesiastical  order?  Yet,  one  step 
further,  and  the  sacred  laws  of  Moses  will  be  sup- 
planted by  the  innovations  of  this  false  Teacher.  The 
dogmas  of  our  Fathers  will  be  despised,  the  fasts  and 
purifications  done  away  with,  the  Sabbath  profaned, 
the  Priests  of  God  divested  of  their  charges,  the  holy 
sacrifices  ended.  Such  is  the  situation. 

ALL.    True,  very  true,  painfully  true! 

CAIAPHAS.  Yes,  and  still  more !  Soon  this  Man, 
encouraged  by  His  success,  will  proclaim  Himself 
King  of  Israel.  Then  will  schism  and  rioting  flood 
the  land,  then  will  the  Romans  come  with  troops  and 
desolate  the  land  and  people.  Woe  unto  the  children 
of  Israel!  Woe  unto  the  Holy  City!  Woe  unto  the 
Temple  of  Jehovah !  Woe,  indeed,  if  some  force  is  not 
set  against  this  evil  while  yet  there  is  time !  This  is 
urgent,  for  the  vindication  rests  with  us.  We  must 
this  very  day  frame  some  strong  course  of  action,  and 
what  is  resolved  upon  must  be  executed  regardless  of 
all  else.  Will  you,  O  Fathers,  by  the  raising  of  your 
hands,  signify  your  agreement  with  me? 

ALL.  Yes,  yes,  we  do,  we  will.  An  end  must  be 
put  to  this  Impostor ! 

[14] 


CAIAPHAS.  Express  your  opinion  freely  as  to 
what  were  best  to  be  done! 

RABBI.  If  I  may  be  allowed  to  speak  frankly,  then 
I  must  confess  that  we  ourselves  are  somewhat  to 
blame  for  what  has  come  to  pass.  Against  this  danger 
which  has  slowly  gathered,  we  have  put  too  mild,  too 
gentle  remedies.  How  have  our  arguments  stopped 
Him;  what  does  it  matter  whether,  by  our  question- 
ing, we  have  at  times  embarrassed  Him?  What  avail 
that  we  have  pointed  out  inconsistencies  in  His  teach- 
ing, and  His  every  violation  of  the  Law?  What  even 
has  been  the  effect  of  the  anathemas  hurled  by  us  upon 
all  who  acknowledged  Him  as  the  Messiah?  Our 
trouble  has  been  useless.  They  turn  their  backs  upon 
us,  and  they  follow  Him.  If  we  would  have  peace, 
then  must  we  do  what  should  indeed  have  been  done 
a  long  time  ago.  We  must  secure  His  person,  must 
cast  Him  into  prison;  that  is  the  way  to  make  Him 
harmless ! 

ALL.    Yes,  we  are  perfectly  agreed ! 

THIRD  PRIEST.  Once  He  is  in  prison,  the  credu- 
lous people  will  no  longer  be  held  by  the  force  of  His 
manner  and  the  magic  of  His  speech.  When  there  is 
no  longer  any  miracle  for  them  to  gape  at,  then  will 
He  soon  be  forgotten. 

FOURTH  PRIEST.  In  the  depths  of  His  dungeon 
let  His  light  shine;  there  let  Him  proclaim  Himself 
Messiah  to  the  dungeon  walls. 

FIRST  PHARISEE.  Quite  long  enough  has  He 
misled  the  people,  and  stigmatized  as  pretence  the 
rare  virtues  of  the  holy  order  of  the  Pharisees. 

SECOND   PHARISEE.    Then  will  the  enthusiasm 
[15] 


of  His  adherents  cool  when  He,  who  promised  them 
freedom,  Himself  lies  in  fetters. 

ANNAS.  Now  indeed,  venerable  Priests  and 
Teachers,  a  ray  of  comfort,  of  hope,  enters  my  heart 
once  more,  for  I  note  your  unanimous  determination. 
Ah,  what  inexpressible  sorrow  has  weighed  upon  my 
soul  because  of  the  rapidity  with  which  the  false  teach- 
ings of  this  Galilean  have  spread !  Had  I  forsooth  at- 
tained old  age,  only  to  behold  with  mine  own  eyes  the 
destruction  of  the  Holy  Law?  Yet  I  will  not  despair. 
The  God  of  our  Fathers  still  lives,  and  is  with  us.  If 
you,  my  Friends,  are  thus  emboldened  to  interpose,  if 
you  stand  together  tried  and  true,  and  follow  unswerv- 
ingly a  definite  aim,  then  indeed  is  deliverance  near. 
Take  courage,  and  save  Israel!  Immortal  glory  will 
be  yours  as  a  reward. 

ALL.  We  are  of  one  intent!  Our  Fathers'  faith 
shall  not  perish! 

PRIESTS.    Israel  must  be  delivered! 

CAIAPHAS.  All  praise  to  your  unanimous  decision, 
worthy  Brothers!  But  now  give  me  aid  with  your 
wise  counsel,  how  it  were  best  to  secure  this  Seducer 
under  our  authority. 

RABINTH.  To  take  Him  now,  at  the  time  of  the 
feast,  might  be  fraught  with  danger.  In  the  streets 
and  within  the  Temple  —  everywhere  He  goes,  He  is 
surrounded  by  a  multitude  of  inspired  adherents  — 
He  could  easily  bring  about  a  riot. 

EZEKIEL.  And  yet,  it  must  be  done  immediately; 
it  suffers  no  delay.  Suppose  He  did  provoke  an  uproar, 
then  we  might  take  Him  on  the  spot,  as  we  have  de- 
termined shall  be  done. 

[i*] 


OTHER   PRIESTS.    No  delay!    No  respite! 

JOSUE.  At  present,  nevertheless,  we  dare  not 
seize  Him  by  open  means;  our  work  must  be  done 
secretly  and  cunningly.  We  must  in  some  way  dis- 
cover where  He  usually  spends  the  night;  there  sud- 
denly and  without  excitement  might  He  be  taken  and 
carried  off  in  perfect  safety. 

NATHANAEL.  Should  it  please  the  High  Council 
to  offer  a  considerable  reward  for  the  purpose,  no 
doubt  someone  could  be  found  to  track  the  fox  to  His 
lair. 

CAIAPHAS.  If  you  sanction  it,  holy  Fathers,  I 
will,  in  the  name  of  this,  our  august  body,  send  forth 
the  command  that  anyone  knowing  His  nightly  haunts 
should  declare  the  same  to  us,  and  also  that  to  the 
informer  is  assured  a  fitting  recompense. 

ALL.    We  are  quite  agreed. 

NATHANAEL.  No  doubt,  some  man  among  those 
so  grievously  insulted  by  the  Galilean  when  He  drove 
them  from  the  Temple  with  a  scourge,  could  inform  us. 
Once  these  men  were  firm  believers  in  the  Law,  and 
now  they  thirst  for  vengeance  against  this  One  who 
has  made  such  an  unheard-of  assault  upon  their 
privileges. 

ANNAS.    Where  may  the  Traders  be  reached? 

NATHANAEL.  They  are  already  here  in  the  vesti- 
bule. I  promised  them  to  champion  their  rights  before 
the  holy  Sanhedrin,  and  they  await  the  issue. 

CAIAPHAS.  Worthy  Priest,  tell  them  that  the 
High  Council  is  disposed  to  listen  to  their  grievance. 
Bring  them  hither. 

2  [17] 


NATHANAEL.  This  will  delight  them,  and 
profit  us!  [Goes. 

SECOND   SCENE 

CAIAPHAS.  The  God  of  our  Fathers  has  not  yet 
withdrawn  His  hand  from  us.  Still  does  Moses  watch 
over  us.  If  we  succeed  in  drawing  to  us  the  flower 
of  manhood  among  the  people,  then  need  we  have  no 
further  fear.  Friends  and  Brothers,  let  us  take  courage 
—  our  Father,  from  out  the  bosom  of  Abraham,  watches 
over  us. 

PRIESTS.  God  bless  our  High  Priest!  [The 
Traders  are  led  in. 

THIRD  SCENE 

NATHANAEL.  High  Priest  and  chosen  Teachers 
of  the  People,  these  men,  deserving  of  our  blessing, 
appear  before  this  Assembly  in  order  to  lodge  com- 
plaint against  the  infamous  Jesus  of  Nazareth,  who 
has  to-day  insulted  them  beyond  reason  in  their 
Temple  and  has  wrought  them  harm. 

DATHAN.  We  beseech  the  High  Council  to  ob- 
tain satisfaction  for  us.  The  High  Council  should 
favour  our  lawful  demands. 

PRIESTS  AND  PHARISEES.  You  shall  have 
justice  done  you,  we  promise  that. 

BOOZ.  Is  it  not  granted  us  by  the  High  Council 
to  place  on  sale  in  the  portico  all  things  necessary 
for  the  Feast? 

SAD  OK.  In  truth,  we  do  allow  that.  Woe  unto 
anyone  who  disturbs  you  in  that  right! 

[18] 


BOOZ.  But  the  Galilean  has  driven  us  out  with  a 
scourge ! 

ABIRON.  And  He  has  overturned  the  money 
tables ! 

DATHAN.    And  He  has  emptied  my  dove-cots! 
TRADERS.    We  demand  recompense! 

CAIAPHAS.  The  Law  grants  you  satisfaction. 
Meanwhile,  your  loss  shall  be  restored  to  you  from  the 
Temple  treasury.  But  in  return,  that  the  Transgressor 
Himself  may  be  punished  in  proper  measure,  we  need 
your  help.  What  can  we  do  to  Him  so  long  as  He  is 
not  in  our  power? 

ESRON.  You  know,  He  goes  daily  to  the  Temple; 
there  He  could  be  easily  caught  and  carried  away. 

CAIAPHAS.  That  would  not  do.  He  always  has 
around  Him  a  passionate  crowd,  which  might  begin  a 
dangerous  riot.  It  must  be  done  silently. 

BOOZ.    The  night  time  is  best. 

CAIAPHAS.  If  you  could  but  reconnoitre,  and 
ferret  out  where  He  hides  under  cover  of  darkness, 
then,  without  any  disturbance,  He  would  soon  be  in 
our  hands.  Afterwards,  not  only  would  the  pleasure 
of  seeing  Him  punished  be  yours,  but  also  you  would 
have  share  in  a  considerable  reward. 

NATH ANAEL.  So !  And  furthermore,  you  will  be 
rendering  a  great  service  to  the  Law  of  Moses,  if  you 
aid  therein. 

TRADERS.    We  shall  not  fail. 

EPHRAIM.    Nor  shall  we  spare  ourselves  trouble. 
[19] 


DATHAN.  I  know  one  of  His  Disciples.  Through 
him  I  may  learn  something,  especially  if  I  offer  him  a 
suitable  reward. 

CAIAPHAS.  If  you  find  such  a  one,  make  him 
every  necessary  promise  in  our  name.  Only,  waste 
no  time,  for  we  must  reach  our  goal  before  the  Feast. 

ANNAS.    And  be  sure  to  observe  strict  silence. 
TRADERS.    We  swear  it! 

CAIAPHAS.  But,  my  men,  if  you  would  satisfy 
your  thirst  for  revenge  entirely,  then  take  good  care 
that  you  kindle  in  others  the  same  holy  ardour  which 
burns  in  you. 

EPHRAIM.  Since  to-day 's  disaster,  we  have  made 
use  of  every  moment;  already  we  have  brought  to 
our  side  many  of  our  friends  and  relatives. 

RABBI.  We  will  not  rest  until  everyone  is  against 
Him. 

ANNAS.  In  return,  you  will  gain  the  rare  thanks  of 
the  High  Council. 

CAIAPHAS.  Publicly  shall  you  then  be  honoured 
before  the  people,  even  as  you  have  just  been  openly 
insulted  by  this  arrogant  Man. 

KOAN.  We  dedicate  our  lives  to  the  Law  of  Moses 
and  to  the  holy  Sanhedrin. 

CAIAPHAS.    The  God  of  Abraham  be  with  you! 

TRADERS.  Long  live  Moses,  long  live  the  High 
Priest  and  the  Sanhedrin.  [  They  go. 

KOAN.  To-day,  maybe,  the  Galilean  has  played  His 
r61e  for  the  last  time !  [Goes. 

[20] 


FOURTH  SCENE 

CAIAPHAS.  As  though  by  sweet  slumbers  strength- 
ened, I  live  again.  With  such  men  as  those,  we  can 
accomplish  everything.  Now  we  shall  see  who  con- 
quers :  He  with  His  followers  to  whom,  without  cessa- 
tion, He  preaches  Love,  a  Love  which  embraces  sinner 
and  publican  alike,  even  the  heathen  —  or  we,  with 
this  multitude  of  His  enemies,  filled  with  a  desire  for 
vengeance,  whom  we  are  sending  forth  against  Him. 
There  can  be  no  doubt  on  which  side  the  victory 
will  be. 

ANNAS.  The  God  of  our  Fathers  grant  us  victory! 
Such  joy  in  my  old  age  will  make  me  young  again! 

CAIAPHAS.  Let  us  adjourn  and  confidently  await 
success.  Praise  be  to  the  Fathers ! 

ALL.  Praise  be  to  the  God  of  Abraham,  Isaac,  and 
Jacob! 

END   OF   ACT 


III.    REPRESENTATION 

The  Parting  at  Bethany 
Prologue 

CHORAGUS.    He  who  glances  in  the  future  with 

a  penetrating  eye, 
He  who  has  the  gift  prophetic  feels  a  violent  storm  is 

nigh  — 
Which  with  menace   is   approaching,  which   obtains 

about  His  head  — 

A  menace  which  approaches  and  which  gathers  and 
will  spread. 

[21] 


There    He   tarries   in   a   circle   of    His    people   who 

believe ; 
He  has  said  the  word  of  parting,  He  has  made  the  heart 

to  grieve. 
Ah !  a  word  which  wounds  to  utter  and  a  word  which 

brings  no  rest  — 
Only  sorrow  to  the   Mother,   only  pain  within  her 

breast. 

See  the  mother  of  Tobias,  how  she  wept  with  every 

sigh, 
As  she  saw  her  son  departing,  as  the  grievous  time 

drew  nigh  — 
How  her  sorrow  and  her  grieving  broke  the  floodgate 

of  her  tears, 
When  she  saw  her  son  departing  as  fulfilment  of  her 

fears. 

Even  so,  thus  weeps  the  Mother  of  the  Son  of  God  who 

goes  — 
Thus  she  gazes  at  her  Loved  One,  knowing  all  the 

grief  He  knows  — 
Through  His  love  He  seeks  atonement,  for  the  world 

ordained  to  die, 
To   destroy   the   sin  of   Sinners,   even   though  they 

crucify. 

TABLEAU:  Young  Tobias  takes  leave  of  fits  home. 
Tob.  4:1.  We  picture  suggests  the  departure  of 
Christus  from  His  Mother,  as  He  leaves  for  Jerusalem. 

SOLO.     Friends!   what  bitter  pain  is  this, 
Torturing  a  Mother's  bliss? 
Hearken  to  the  Lord's  command  — 
Yonder  Raphael  by  the  hand 
Leads  Tobias  from  the  land. 

[22] 


Woe!     Alas,  a  thousand  woes! 
Thus  she  calls  to  him  who  goes  — 
Come  thou,  tarry  not  for  long, 
Comfort  thou,  and  right  the  wrong  — 
But  return,  and  make  me  strong! 

Ah,  Tobias,  ah,  my  son! 
Come  to  me,  beloved  one! 
For  my  arms  are  opened  wide  — 
Fain  to  hold  thee  by  my  side  — 
Thus  to  make  me  satisfied! 

CHORUS.     Mournful  she,  and  comfortless. 
Neither  joy  nor  happiness  — 
Till  one  moment,  doubly  blest, 
Finds  her  son  held  to  her  breast! 

SOLO.    A  Bride  there  was,  you  know  the  song  — 
Of  her  lamenting  loud  and  long. 
'T  was  Solomon  in  all  his  glory, 
Told  in  lofty  words  the  story ! 

Greater  the  pain  in  Mary's  heart, 
Which  pierces  like  a  cruel  dart; 
And  yet  submission  is  a  rod 
Aiding  her  to  walk  with  God. 

TABLEAU :  The  beloved  bride  bewails  the  loss  of  her 
bridegroom.  S.  of  S.  5:J.  In  a  wonderfully  beau- 
tiful flower- garden,  we  see  the  Bride  of  the  Sublime 
Song ;  she  stands  in  a  rose  arbour,  surrounded  by  her 
trusted  women  clad  in  white  and  adorned  'with  blos- 
soms. An  allusion  is  here  made  to  the  Church  as  a 
maidenly  bride  ;  or  to  Mary's  grief  over  the  depar- 
ture of  ber  Son,  her  one  great  joy.  For  the  lament, 
cf.  Canticles. 

[23] 


SOLO.    Whither,  whither  has  He  departed? 
For  I,  alas,  am  broken-hearted! 
Beloved  One,  my  soul  is  yearning ! 
Beloved  One,  my  tears  are  burning! 

Whither,  whither  art  Thou  hiding? 
Speak,  oh,  speak,  one  word  confiding! 
Dost  Thou  tarry  —  Dost  Thou  wait  — 
Have  I  lost  Thee  — am  I  late? 

My  heavy  eyes  are  searching  still  — 
From  path  to  path,  from  hill  to  hill  — 
Beloved,  in  the  early  morn, 
I  think  of  Thee  — and  Hope  is  born! 

CHORUS.     Beloved,  ah,  Beloved,  woe  is  me 
The  pain  I  feel  for  Thee ! 

Friends,  be  ye  comforted,  and  learn 
Thy  Beloved  will  return! 

Behold  the  Bridegroom  on  His  way  — 
Tarry  thou,  and  for  Him  stay  — 
No  longer  any  cloud  shall  dim 
The  joy  to  thee  of  meeting  Him! 

Oh,  come,  my  eyes  are  opened  wide! 
Oh,  rest,  Beloved,  by  my  side! 
No  longer  any  cloud  shall  be, 
To  dim  the  joy  of  meeting  Thee ! 


[34] 


ACT  III 

Christus  is  anointed  by  Mary  Magdalene  in  Bethany,  where 
Judas  complains.  He  then  fakes  leave  of  His  Mother 
and  of  His  friends. 

FIRST   SCENE 
Cbristus  and  the  Twelve  Disciples 

CHRISTUS.  Know  you,  my  dear  Disciples,  that  the 
Passover  is  in  two  days'  time.  Therefore,  let  us  now 
make  a  last  visit  to  our  friends  in  Bethany,  and  then 
go  to  Jerusalem;  there,  in  these  days  to  come,  all  will 
be  fulfilled  which  has  been  written  by  the  Prophets  of 
the  Son  of  Man. 

PHILIP.  Has  the  day  then  truly  arrived  when  you 
will  again  restore  the  Kingdom  to  Israel? 

CHRISTUS.  Then  shall  the  Son  of  Man  be  handed 
over  to  the  Gentiles,  and  He  shall  be  ridiculed  and  spat 
upon,  and  they  will  crucify  Him.  But  on  the  third 
day  He  will  rise  again. 

JOHN.  Master,  what  dark  and  terrible  meaning  for 
us  in  your  words!  How  shall  we  understand  you? 
Make  it  clear  to  us! 

CHRISTUS.  The  hour  has  come  when  the  Son  of 
Man  will  be  glorified!  Verily,  verily,  I  say  unto  you: 
If  the  grain  of  wheat  does  not  fall  to  the  ground  and 
die,  then  it  remains  alone ;  but  if  it  dies,  then  it  brings 
forth  abundant  fruit.  Now  the  judgment  goes  forth 
over  the  earth :  The  Prince  of  this  world  will  be  cast 
out.  And  I,  if  I  be  raised,  will  draw  all  men  unto  me. 

05] 


THADDEUS.   What  does  He  mean  by  such  speech? 

SIMON.  Why  does  He  liken  Himself  to  a  grain  of 
wheat? 

ANDREW.  Lord,  you  mention  shame  and  victory 
in  one  breath,  and  yet  I  know  not  how  to  reconcile 
these  in  my  thoughts. 

CHRISTUS.  What  to  you  now  is  dark  as  night 
will  soon  be  as  clear  as  day.  Thus  have  I  said  unto 
you,  so  that  whatever  happens  you  may  not  lose  cour- 
age. Believe  and  hope !  For  when  the  turmoil  is  over, 
then  shall  you  see  and  understand. 

THOMAS.  I  cannot  grasp  what  it  is  you  say  of 
suffering  and  of  death.  Have  we  not  then  learned 
aright  of  the  Prophets,  that  the  Messiah  shall  live 
eternally? 

PETER.  What  can  your  enemies  do  to  you?  A 
word  from  you  would  crush  them  all. 

CHRISTUS.  Thomas!  reverence  the  decree  of  God, 
which  you  cannot  fathom.  For  a  short  while  still  is 
the  Light  with  you.  Walk  so  long  as  you  have  the 
light,  lest  darkness  overtake  you. 

DISCIPLES.  Lord!  Remain  with  us!  Without 
you  we  will  be  as  sheep  without  a  shepherd. 

SECOND    SCENE 

The  preceding.    Simon,  then  Lazarus,  Martha, 
Mary  Magdalene 

SIMON.  Best  of  Teachers,  greetings  unto  you! 
Oh,  what  joy!  how  you  bless  my  house  with  your 
presence.  (To  the  Disciples.}  Be  there  welcome  unto 
you  all,  friends. 

[26] 


CHRISTUS.  Simon,  for  the  last  time  do  I  lay  claim 
upon  your  hospitality  —  I,  with  my  Disciples  here. 

SIMON.  Speak  not  so,  my  Master.  Many  times 
shall  Bethany  still  afford  you  resting  place  for  brief 
repose. 

CHRISTUS  (Lazarus  approaching).  Behold  our  friend 
Lazarus. 

LAZARUS.  Oh,  Conqueror  of  Death!  Benefactor 
of  Life!  Master!  I  see  you  again,  and  I  hear  again 
the  voice  which  called  me  from  the  grave!  [Conceal- 
ing his  face  on  the  breast  of  Christus. 

MAGDALENE.     Rabbi! 
MARTHA.    Greetings  to  you! 
CHRISTUS.    God's  blessing  rest  upon  you. 

MAGDALENE.  Will  you  have  from  me  a  token  of 
love  and  gratitude? 

CHRISTUS.    Yea,  do  what  you  purpose  doing. 

SIMON.  Enter,  Master,  beneath  my  roof;  let  you 
and  yours  be  refreshed.  [They  all  go  in. 

THIRD    SCENE 
The  Guest-room  in  Simon's  House 
CHRISTUS.    Peace  be  unto  this  house! 
DISCIPLES.     And  to  all  who  dwell  therein! 

SIMON.  Master,  everything  is  ready.  Be  seated 
at  the  table,  and  bid  your  followers  do  likewise. 

CHRISTUS.  Let  us  then,  my  dear  Disciples,  with 
thanks  enjoy  the  gifts  which  our  Father  in  Heaven 

[27] 


grants  us  through  Simon,  His  servant.  (After  they 
are  all  seated.)  O  Jerusalem!  Would  that  to  you 
my  coming  were  as  dear  as  it  is  to  these,  my  friends ! 
But,  alas,  you  are  stricken  with  blindness! 

LAZARUS.  Beloved  Master !  Dangers  there  await 
you.  In  expectation,  the  Pharisees  abide  your  com- 
ing to  the  Great  Feast.  Eagerly  they  watch  for  your 
destruction. 

SIMON.    Remain  here  with  us  where  you  are  safe. 

PETER.  Here  indeed  it  were  best  to  be  beneath  the 
portals  of  this  house,  served  by  true  love  —  here  until 
the  storm  which  will  arise  has  spent  itself. 

CHRISTUS.  Get  thee  behind  me,  Satan !  You  have 
no  thought  for  that  which  is  of  God,  but  only  for  that 
which  is  of  Man.  Should  the  Reaper  be  permitted 
to  rest  in  the  shadow  while  the  ripe  harvest  beckons 
Him?  The  Son  of  Man  came  not  into  this  world  that 
He  might  be  served,  but  that  He  might  serve  and  give 
His  life  as  ransom  for  the  many. 

JUDAS.  But,  Master,  what  would  become  of  us  if 
you  should  lose  your  life? 

APOSTLES.  Alas!  All  our  hopes  would  then  be 
ruined ! 

CHRISTUS.  Calm  yourselves!  I  have  the  power 
to  give  up  my  life,  and  I  have  the  power  to  bring  it 
back  again.  This  has  the  Father  granted  me. 

MAGDALENE  (comes  and  pours  ointment  upon  the 
head  of  Christus).  Rabbi. 

CHRISTUS.    Maria! 

THOMAS.    What  delicious  odour! 

[28] 


BARTHOLOMEW.  That  is  costly  — it  is  rare 
spikenard  oil. 

THADDEUS.  Such  honour  has  never  before  fallen 
to  our  Master. 

JUDAS.  To  what  purpose  such  wastefulness?  One 
could  better  employ  the  gold  it  cost. 

THOMAS.  Thus  it  almost  seems  to  me.  [Mag- 
dalene kneels  and  anoints  the  feet  of  Christtts. 

CHRISTUS.  What  is  it  that  you  whisper  — one 
to  the  other?  Why  do  you  censure  what  is  done  out 
of  grateful  love  alone? 

JUDAS.  Thus  to  use  such  precious,  such  costly 
ointment!  What  prodigality! 

CHRISTUS.  Friend  Judas!  Look  on  me!  Is  it 
waste  on  me,  your  Master? 

JUDAS.  But  I  know  you  care  not  for  such  useless 
extravagance.  One  might  have  sold  the  ointment, 
and  the  poor  could  have  profited  thereby. 

CHRISTUS.  Judas,  your  hand  upon  your  heart! 
Is  it  only  compassion  for  the  poor  which  moves 
you  so? 

JUDAS.  At  least  three  hundred  pieces  could  have 
been  got  for  it.  A  loss  indeed  to  the  poor  —  and  to  us ! 

CHRISTUS.  The  poor  have  you  always  with  you, 
but  me  have  you  not  always.  She  has  done  good 
work;  let  her  be!  For  inasmuch  as  she  has  poured 
this  oil  upon  my  body,  so  has  she  in  advance  prepared 
me  for  my  burial.  Verily,  verily,  I  say  unto  you: 
Wheresoever  the  Gospel  is  preached  throughout  the 
world,  there  also  will  the  memory  of  what  she  has 

[29] 


done  be  preserved.  Let  us  rise.  ( To  Simon,  after  they 
have  risen.)  Thank  you,  kind  friend,  for  your  enter- 
tainment. The  Father  will  reward  you. 

SIMON.  Say  naught  of  thanks,  Master.  I  am  aware 
what  I  owe  to  you. 

CHRISTUS.  The  time  has  come  to  depart  from 
here.  Farewell,  inmates  of  this  hospitable  house !  My 
Disciples,  follow  me ! 

PETER.  Master,  where  you  will,  —  only  not  unto 
Jerusalem ! 

CHRISTUS.  I  go  whither  my  Father  calls  me. 
Peter,  if  it  so  please  you  to  remain  here,  then  remain ! 

PETER.  My  Lord  and  Master,  where  you  stay, 
there  will  I  stay  also,  and  where  you  go,  there  also  will 
I  go. 

CHRISTUS.    Then  come!    [They  go. 

FOURTH    SCENE 

CHRISTUS  (to  Magdalene  and  Martha}.  Stay, 
dearly  beloved !  Once  more,  farewell !  Peaceful  Beth- 
any! Never  again  shall  I  tarry  in  thy  restful  vale. 

SIMON.  Then,  Master,  will  you,  in  truth,  leave 
here  forever? 

MAGDALENE.  Oh,  I  have  forebodings  of  most 
terrible  things.  Friend  of  my  soul!  My  heart,  alas, 
my  heart,  I  cannot  let  you  go!  [Falls  at  the  feet  of 
Christus. 

CHRISTUS.  Arise,  Mary!  The  night  approaches 
and  the  winds  of  winter  are  raging  near.  Still,  be  of 

[30] 


good  hope !  In  the  early  morn,  in  the  Garden  of  Spring, 
you  shall  see  me  again! 

LAZARUS.    My  Friend!    My  Benefactor! 

MARTHA.  Joy  of  my  heart !  My  strength !  Alas, 
you  go  to  return  no  more? 

CHRISTUS.  Our  Father  wills  it,  dear  one! 
Wherever  I  am,  I  will  carry  you  always  in  my  heart, 
and  wheresoever  you  are,  my  blessing  be  upon  you. 
Farewell !  [As  He  turns  to  go,  Mary,  the  Mother,  comes 
with  her  companions. 


FIFTH    SCENE 

MARY.  Jesus,  dear  Son,  with  yearning  have  I  and 
my  friends  hastened  after  you,  to  see  you  once  more, 
ere  you  go,  alas,  from  hence! 

CHRISTUS.    Mother,  I  am  on  my  way  to  Jerusalem. 

MARY.  To  Jerusalem!  'T  is  there,  in  the  Temple 
of  Jehovah,  I  once  carried  you  in  my  arms  to  offer 
you  unto  the  Lord. 

CHRISTUS.  Mother!  The  hour  has  come  when  I 
shall  offer  myself,  even  as  our  Father  has  ordained. 
I  am  ready  to  fulfil  that  which  the  Father  exacts  of 
me. 

MARY.  Alas !  I  have  a  fear  of  what  the  sacrifice 
will  be! 

MAGDALENE.  O  dearest  Mother,  how  ardently 
we  have  wished  to  keep  our  beloved  Master  here 
with  us! 

SIMON.    But  He  is  resolved! 

[31] 


CHRISTUS.    My  hour  has  come. 

ALL  THE  DISCIPLES.  Beseech  the  Father  to 
absolve  you. 

ALL  THE  WOMEN.  He  will  as  ever  hearken 
unto  you. 

CHRISTUS.  My  soul  is  indeed  cast  down.  Yet 
what  .is  it  I  should  say :  Father !  save  me  from  this 
hour?  Was  it  not  for  this  very  hour  I  came  into  the 
world? 

MARY.  Simon,  Simon,  you  worthy  old  man,  now 
will  it  come  to  pass  —  that  which  you  once  prophesied 
to  me :  "  A  sword  shall  pierce  thy  heart !  " 

CHRISTUS.  Mother!  the  Father's  will  has  ever  to 
you  been  held  in  sacredness. 

MARY.  Even  now  is  it  so.  I  am  a  hand-maiden  of 
the  Lord.  What  He  imposes  upon  me,  that  in  patience 
will  I  bear.  But  one  thing  I  beseech  you,  Son! 

CHRISTUS.    What  do  you  crave,  my  Mother? 

MARY.  That  I  may  go  with  you  into  the  midst 
of  your  suffering,  yea,  even  unto  death ! 

JOHN.    What  love! 

CHRISTUS.  Mother!  Indeed  you  will  suffer  with 
me,  you  will  bleed  with  me  in  my  death  agony,  but 
then  you  will  rejoice  with  me  in  my  victory.  There- 
fore, take  comfort! 

MARY.  Ah,  God,  give  me  strength  that  my  heart 
may  not  break ! 

THE  HOLY  WOMEN.  Mother  of  mothers,  we 
weep  for  you! 

[32] 


MARY.    My  Son,  with  you  I  go  to  Jerusalem. 
THE  WOMEN.     Mother,  we  go  with  you! 

CHRISTUS.  Later,  you  may  unto  the  city;  but 
now  remain  with  our  friends  in  Bethany.  (  To  Simon, 
Martha,  etc. )  Unto  you,  trusted  souls,  I  commend  my 
Mother,  together  with  these,  her  companions. 

MAGDALENE.  After  you,  there  is  no  one  dearer 
to  us  than  your  Mother. 

LAZARUS.    If  only  you,  Master,  could  remain! 

CHRISTUS.  Comfort  you  one  another!  In  two 
days  you  may  proceed  together  on  your  way,  so  as  to 
reach  Jerusalem  for  the  great  Feast. 

MARY.    As  you  will,  my  Son. 

WOMEN.  Alas!  how  sadly  the  hours  will  pass 
with  you  far  off! 

CHRISTUS.  Mother,  Mother!  For  all  the  tender 
love  and  care  you  have  shown  me  these  three  and 
thirty  years  of  my  life,  receive  the  thanks  of  your  Son ! 
The  Father  calls  me.  Farewell,  best  of  Mothers! 

MARY.    My  Son,  where  shall  I  see  you  again? 

CHRISTUS.  Yonder,  beloved  Mother,  where  the 
Scriptures  shall  be  fulfilled :  He  was  led  as  a  Lamb  to 
the  sacrifice,  and  He  opened  not  His  mouth. 

MARY.  Jesus!  Your  Mother  — alas!  O  God!  — 
my  Son  — 

WOMEN  (hastening  to  Mary,  the  Mother,  to  support 
her).  Oh,  dearly  beloved  Mother! 

DISCIPLES  (departing).  We  cannot  bear  it.  How 
will  it  end? 

ALL.    What  great  affliction  threatens  us? 

3  [33] 


CHRISTUS.  Give  not  up  in  the  first  struggle! 
Have  faith  in  me !  [Goes. 

LAZARUS,  THE  WOMEN  (looking  after  Christus). 
Oh,  our  dear  Teacher! 

SIMON.  Benefactor  of  my  house!  (To  Mary.) 
Mother,  come  with  me  and  deign  to  enter. 

MAGDALENE.  One  consolation  there  is,  even  in 
the  midst  of  our  trial. 

MARTHA.  How  fortunate  to  have  our  Master's 
Mother  with  us ! 

LAZARUS  (to  the  'women).  You  also,  beloved  ones, 
come  with  us!  We  will  share  together  our  sorrow 
and  our  tears.  [  They  go  into  the  house. 

END   OF   ACT 


IV.    REPRESENTATION 

The  Last  Journey  to  Jerusalem 

Prologue 

People  of  God!    Thy  Saviour  is  near  thee.    Behold! 
He  has  come,  He  has  come  as  the  Prophets  foretold! 
Hearken  His  voice,  and  follow  His  leading, 
Grace  has  He  brought  thee,  and  Life  —  for  thy  sins 

interceding ! 

Yet  blind  is  the  faith  of  Jerusalem,  deaf  is  the  land  — 
She  will  turn  from  the  hope  of  Salvation,  and  thrust 

back  His  hand! 

[34] 


And  soon  will  the  Saviour  no  longer  give  heed  to  her 

call, 
On  the  day  of  Jerusalem's  fall ! 

Vashti  in  scorn  the  royal  feast  disdained, 

The  king  in  anger  spurned  her  from  his  side  — 

Vashti  in  scorn  complained, 

The  king  turned  from  her  to  a  nobler  bride. 

Thus  will  the  Synagogue  be  in  time  forsaken ! 

Thus  will   God's   Kingdom  from  the  Synagogue   be 

taken ! 
To  other  righteous  Nations  that  in  fruitfulness  have 

thriven, 
God's  Kingdom  will  be  given ! 

CHORAGUS  (3?ec£).    Jerusalem,  awake!    Thy 

slumbers  cease! 

Awake,  Jerusalem,  while  there  is  peace ! 
The  hour  of  woe  is  coming  as  you  wait, 
Unhappy  one,  behold  your  fate  — 
Soon  it  will  be  too  late ! 
Awake ! 

CHORUS.    Jerusalem,  Jerusalem, 
Behold  thy  Father's  face! 
Jerusalem,  Jerusalem, 

Let  not  hate  replace 

The  touch  of  grace, 
Lest,  unhappy  one,  some  day 
The  Lord  of  Hosts  from  thee  should  turn  away ! 

TABLEAU :  King  Ahasuews  casis  Vashti  from  him  an<f 
exalts  Esther.    Esther  1-2.     Queen  Vashti,  the  proucf, 
symbolizes  Jerusalem  and  Judaism,  while  Esther  typifies 
Christianity.    As  Vashti  is  discarded  by  the  king,  even 
so  is  Christus  rejected  by  the  Jews. 
[35] 


CHORAGUS  (9?ec&).    Behold,  of  Vashti's  fate 

we  tell ! 

Such  fate  the  Synagogue  befell! 
"  Away,  proud  woman,  from  my  throne  — 
Unworthy  one,  I  thee  disown ! " 

Thus  spake  Ahasuerus  in  his  ire: 
"  Come,  Esther,  to  my  side, 
Through  life  abide 
As  Queen  unto  thy  sire." 

"  The  time  of  grace  has  passed  — 

Away,"  saith  the  Lord,  "  I  cast 
From  me  the  faithless,  and  unto  me  I  bring  — 
Even  as  Esther  came  unto  the  King  — 
A  better  people  in  their  faith  supernal, 
To  whom  my  love  will  be  eternal ! " 

CHORUS.    Jerusalem,  Jerusalem! 
Ye  sinners,  unto  God  give  heed ! 
The  leaven  of  your  sins  replace, 
By  opening  your  heart  to  grace  — 

That  is  your  greatest  need ! 

Jerusalem,  give  heed ! 

ACT   IV 

Christus  goes  with  His  Disciples  toward  the  city  of  Jerusa- 
lem, is  sore  grieved  at  the  signs  of  sin,  and  sends 
before  Him  two  of  His  Disciples  to  make  ready  the 
Paschal  Lamb.  Judas  conceives  the  idea  of  betraying 
his  Master. 

FIRST    SCENE 

Christus  and  the  Twelve  on  their  Way  toward  Jerusalem 

JOHN.     Master,  look  yonder,  what  a  glorious  view 
toward  Jerusalem! 

[36] 


MATTHEW.  And  the  majestic  Temple  — •  what  a 
noble  pile ! 

CHRISTUS.  Jerusalem,  Jerusalem!  Oh  that  thou 
couldst  but  know  even  now  in  thy  day  what  were  best 
for  thy  peace!  But  it  is  hidden  from  thine  eyes. 
[Weeps. 

PETER.    Master,  why  do  you  grieve  so  sorely? 

CHRISTUS.  My  Peter!  The  fate  of  this  unfortu- 
nate city  hurts  me  to  the  heart ! 

JOHN.    Lord,  tell  us  what  that  fate  will  be. 

CHRISTUS.  The  day  shall  come  when  the  enemy 
will  undermine  her  walls,  and  close  her  in,  spreading 
alarm  on  all  sides.  She  and  her  children  will  be  dashed 
to  pieces,  and  there  shall  not  be  left  one  stone  upon 
another. 

ANDREW.    Why  such  a  sad  fate  for  this  city? 

CHRISTUS.  Because  she  hath  not  known  the  time 
of  her  visitation.  Alas !  The  murderer  of  the  Prophets 
will  even  kill  the  Messiah  Himself. 

ALL.    What  a  horrible  deed! 

JAMES  THE  ELDER.  God  forbid  that  the  Holy 
City  should  bring  upon  herself  such  a  curse! 

JOHN.  Beloved  Master,  for  the  sake  of  the  Holy 
City  and  of  the  Temple  of  Jehovah,  I  beg  of  you  to 
go  not  thither.  Let  there  be  no  occasion  for  the  evil- 
doers to  perpetrate  their  deed. 

PETER.  Or  go  forward,  Master,  and  reveal  your- 
self to  them  in  all  your  excellence,  so  that  the  good 
may  rejoice  and  the  wicked  tremble. 

[37] 


ALL.    Yea,  do  so ! 

PHILIP.     Strike  down  your  enemies! 

ALL.  And  establish  the  Kingdom  of  God  among 
men! 

CHRISTUS.  My  children,  what  you  desire  shall 
come  to  pass  in  time.  But  my  ways  have  been  or- 
dained by  my  Father  —  for  so  saith  the  Lord:  My 
thoughts  are  not  your  thoughts,  and  your  ways  are  not 
my  ways.  Peter ! 

PETER.    What  would  you,  Master? 

CHRISTUS.  It  is  now  the  first  day  of  the  Unleav- 
ened Bread,  a  day  on  which  the  Law  exacts  that  the 
paschal  meal  be  kept.  Both  you  and  John  proceed 
ahead  of  us  and  make  ready  the  Paschal  Lamb,  that  we 
may  eat  of  it  at  the  evening  hour. 

PETER  AND  JOHN.  How,  Master,  would  you 
have  us  do  this? 

CHRISTUS.  When  you  come  unto  the  city,  you 
will  meet  a  man  carrying  a  pitcher  of  water.  Go 
with  this  one  unto  his  house,  and  say  unto  the 
head  therein:  Our  Master  would  know  of  you: 
Where  is  the  room  in  which  I  with  my  Disciples  may 
partake  of  the  Passover?  He  will  show  you  a  guest- 
chamber,  made  ready  for  our  coming:  there  set  forth 
the  meal. 

PETER.  Your  blessing,  Master.  [Both  John  and 
Peter  kneel 

CHRISTUS.  God's  blessing  be  with  you  both. 
[The  two  Apostles  go. 

[38] 


SECOND    SCENE 

CHRISTUS.  You  who  remain,  come  with  me  for 
the  last  time  to  the  House  of  my  Fathers!  To-day, 
thither  will  you  go  with  me,  but  to-morrow  — 

JUDAS.  Yet,  Master,  if  you  are  really  to  leave  us, 
at  least  grant  us  some  assurance  of  our  future  main- 
tenance. See  (pointing  io  a  parse) ,  this  cannot  suffice 
much  longer. 

CHRISTUS.  Judas,  be  not  more  anxious  than  is 
needful ! 

JUDAS.  The  value  of  yon  wasted  oil  —  how  much 
better  if  the  money  lay  herein  (holding  up  the  purse). 
Three  hundred  denare !  what  days  we  could  have  lived 
upon  it  without  want  or  care ! 

CHRISTUS.  Till  now  you  have  wanted  for  naught, 
and,  believe  me,  you  at  no  time  in  the  future  will  be 
in  need. 

JUDAS.  Still,  Master,  when  you  are  no  longer 
amongst  us,  then  will  our  good  friends  draw  back, 
and  — 

CHRISTUS.  Friend  Judas!  See  to  it  that  the 
Tempter  does  not  overtake  you! 

THE  OTHER  DISCIPLES.  Judas!  Trouble  not 
the  Master  so. 

JUDAS.  Who  would  have  thought  of  this,  if  I  did 
not  trouble?  Am  I  not  appointed  by  the  Master  as 
keeper  of  the  purse? 

CHRISTUS.    Verily  you  are,  but  I  fear  — 
[39] 


JUDAS.  I  also  fear  that  it  will  soon  be  empty  — 
and  that  empty  it  will  remain. 

CHRISTUS.  Judas!  Forget  not  my  warning! 
Now  let  us  proceed  onward!  I  desire  to  be  in  my 
Father's  House.  [He  leaves  with  all  of  His  ^Disciples, 
save  Judas >  'who  remains  behind. 


THIRD    SCENE 

JUDAS  (alone).  Shall  I  follow  Him  further?  I  am 
of  little  mind  to  do  so.  The  Master's  way  is  unac- 
countable to  me.  His  wonderful  works  gave  us  hope 
that  He  would  restore  the  Kingdom  of  Israel,  but  He 
does  not  seize  the  opportunities  which  offer  them- 
selves, and  now  indeed  He  speaks  repeatedly  of  sepa- 
ration from  us,  and  of  death,  consoling  us  feebly  with 
mysterious  words  about  a  future  too  dim,  too  far  away. 
I  am  tired  of  waiting,  of  hoping.  With  Him,  I  well 
can  see  there  is  naught  in  view  but  this  continued 
poverty  and  lowliness.  Life  shall  drag  along,  and  in- 
stead of  sharing  in  His  glorious  Kingdom,  we  shall 
be  persecuted,  and  with  Him  thrown  into  prison.  I 
will  withdraw.  Fortunately,  I  have  always  been  pru- 
dent and  cautious,  and  now  and  then  have  laid  aside 
from  the  purse  a  trifle  in  case  of  necessity.  How  use- 
ful at  this  moment  would  be  the  three  hundred  pieces 
that  heedless  woman  wasted  as  an  empty  mark  of  es- 
teem. If  the  company  breaks  up,  as  it  seems  to  me  it 
will,  then  would  I  have  had  three  hundred  denare  in  my 
hands  —  which  would  have  served  me  a  long  while! 
But  as  it  is,  I  have  to  consider  the  problem  where 
and  how  I  may  find  a  livelihood.  [Remains  standing 
in  reflection. 

[40] 


FOURTH    SCENE 

Judas.     The  Trader  Dathan 

DATHAN  (entering).  Ha,  Judas!  The  time  is  fa- 
vourable, he  is  alone!  He  appears  to  be  in  deep  per- 
plexity. I  must  exert  every  means  to  win  him  over  to 
our  cause.  Friend  Judas! 

JUDAS.    Who  calls? 

DATHAN.  A  friend.  Has  some  sad  happening  be- 
fallen you?  You  are  so  deep  in  thought. 

JUDAS.    Who  are  you? 

DATHAN.    Your  friend,  your  brother. 

JUDAS.    My  brother,  my  friend?    You? 

DATHAN.  At  least,  I  wish  so  to  become.  How 
is  it  with  the  Master?  I,  too,  would  like  to  be  of  His 
company. 

JUDAS.    You?  .  .  .  His  company? 

DATHAN.  Have  you  then  truly  forsaken  Him? 
Are  things  so  unwell  with  Him?  Tell  me,  so  I  may 
act  accordingly. 

JUDAS.    If  you  could  be  silent,  I  might  tell  you  .  .  . 
DATHAN.    Assuredly  I  can,  friend  Judas. 

JUDAS.  Then  things  are  no  longer  well  with  Him. 
He  Himself  confesses  that  His  last  hour  has  come.  I 
shall  leave  Him,  for  He  will  yet  bring  us  all  to  ruin. 
I  am  Treasurer  —  see  here  how  it  stands  with  us ! 

DATHAN.    Friend,  then  I  remain  as  I  am. 
[40 


FIFTH    SCENE 

Dathan's  companions  steal  hither. 
JUDAS.    Who  are  these?    I  will  not  speak  further. 

KORE.  Remain,  friend.  You  will  have  no  cause 
to  regret  it. 

JUDAS.    Why  have  you  come  here? 

KORE.  We  would  return  to  Jerusalem,  and  if  it 
so  please  you,  will  keep  you  company. 

JUDAS.  Probably  you  also  would  follow  the 
Master? 

ABIRON.    Has  He  gone  to  Jerusalem? 
JUDAS.    For  the  last  time,  so  He  says. 

RABBI.  For  the  last  time?  Will  He  then  never 
again  leave  Judaea? 

ABIRON.  Where  in  Jerusalem  does  He  abide  at 
night? 

JUDAS  (suspiciously).  Why  do  you  ask  so  eagerly? 
Would  you  become  His  followers? 

TRADERS.    Why  not,  if  the  prospects  be  good? 
JUDAS.    I  see  naught  of  the  brilliant  prospects. 

D ATH AN.  Explain,  Judas  —  what  do  you  mean  by 
what  you  said  a  short  while  ago  —  that  He  would 
bring  you  all  to  ruin? 

JUDAS.     He  always  says  to  us:     Be  not  anxious 
[4*] 


for  the  morrow.  But  if  perchance  aught  should  happen 
to  Him  to-day  or  to-morrow,  we  should  all  be  desti- 
tute. Is  it  thus  a  Master  cares  for  His  own? 

ABIRON.  Under  such  circumstances  the  outlook 
is  truly  a  sorry  one. 

JUDAS.  Moreover,  only  to-day  He  allowed  the 
most  absurd  waste,  committed  by  a  silly  woman  in  His 
honour;  and  when  I  disapproved  of  it,  I  encountered 
reproachful  glances  and  reproachful  words. 

DATHAN.  And  yet  you  still  can  be  on  friendly 
terms  with  Him? 

BOOZ.    Will  you  remain  with  Him  any  longer? 

DATHAN.  Friend,  you  should  look  after  your  own 
future.  It  is  about  time. 

JUDAS.  I  am  thinking  of  that  —  but  where  to  find 
immediately  a  good  living  —  that  is  the  difficulty! 

DATHAN.  There  you  have  not  far  to  seek.  The 
best  of  opportunities  offers  itself. 

JUDAS.    Where?    How? 

EPHRAIM.  Have  you  heard  naught  of  the  High 
Council's  proclamation? 

JUDAS.    About  what? 

EPHRAIM.  Never  again  in  your  lifetime  will  you 
meet  with  such  an  excellent  chance  to  make  your 
fortune. 

JUDAS.    Tell  me  what  proclamation? 

DATHAN.    Whosoever  reveals  the  nightly  haunt 

[43] 


of  Jesus  of  Nazareth  shall  be  granted  a  considerable 
reward. 

KORE.    Mark  you !  —  a  considerable  reward ! 
JUDAS.    A  reward! 

EPHRAIM.  Who  better  than  you  could  earn  it  so 
easily? 

DATHAN  (aside).    We  are  nearing  the  goal. 
ABIRON.    Brother,  do  not  trifle  with  your  fortune! 

JUDAS.  Indeed,  a  rare  opportunity  —  shall  I  let  it 
slip  me? 

DATHAN.  Bethink  you  further :  the  reward  is  not 
all.  The  High  Council  will  in  addition  look  after  you. 
Who  knows  what  may  yet  be  in  store  for  you  as  a 
result  of  this? 

KORE.    Speak,  friend! 

TRADERS.    Give  us  your  hand  upon  it. 

JUDAS.    Well,  so  be  it! 

DATHAN.  Come,  Judas,  we  will  lead  you  forth- 
with to  the  High  Council. 

JUDAS.  Nay,  for  the  present,  I  must  after  the 
Master.  First  of  all,  let  me  reconnoitre,  so  as  to  be 
on  the  safe  side. 

DATHAN.  In  the  meanwhile  we  will  go  to  the 
High  Council  and  announce  your  intent.  But  when 
and  where  shall  we  meet  again? 

JUDAS.  Three  hours  hence,  you  will  find  me  in  the 
street  of  the  Temple. 

[44] 


DATHAN.    Brother,  your  word! 

JUDAS.    My  word  of  honour.     [The  Traders  go. 

SIXTH    SCENE 

JUDAS  (alone).  The  word  is  given  —  I  will  not  re- 
gret it.  Shall  I  forsooth  avoid  the  good  fortune  at  my 
very  hand?  Would  I  not  be  foolish  to  let  such  a  pretty 
little  sum  escape  me,  when  I  can  earn  it  with  no 
trouble?  My  fortune  is  made!  It  cannot  fail.  I  will 
do  what  I  promised,  but  let  me  be  paid  in  advance. 
Then,  if  the  Priests  succeed  in  imprisoning  Him,  if  all 
is  indeed  at  an  end  with  Him,  my  own  prospects  are 
assured,  and,  moreover,  I  shall  have  acquired  fame 
throughout  Judaea  as  the  one  who  did  most  to  save  the 
Law  of  Moses,  and  thus  further  praise  and  recompense 
will  be  given  me.  But  should  the  Master  triumph  in- 
stead —  then  I  will  throw  myself  repentant  at  His  feet ! 
Surely  He  is  good ;  never  have  I  seen  Him  drive  away 
a  contrite  being.  He  will  take  me  unto  Himself  again, 
and  I  may  even  claim  for  myself  the  credit  of  having 
brought  about  the  outcome.  No,  I  will  not  entirely 
cut  myself  aloof,  or  pull  down  the  bridges  behind  me 
—  for  I  would  return  if  I  cannot  go  forward.  Judas, 
you  are  a  prudent  man!  But  now  I  fear  to  meet  the 
Master,  for  His  searching  look  will  be  hard  to  stand, 
and  my  comrades  will  see  by  my  expression  that  I  fear, 
that  I  am  a  —  No !  I  am  not,  I  will  not  be  a  traitor ! 
Then,  what  is  it  I  am  doing  but  notify  these  Jews 
where  the  Master  is  to  be  found?  Yet  that  is  not  be- 
trayal; a  traitor's  work  requires  more.  Away  with 
these  crotchets!  Courage,  Judas,  your  future  welfare 
depends  upon  yourself !  [He  goes. 

[45] 


SEVENTH    SCENE 

A  City  Lane.    Baruch.    Immediately  afterwards,  Peter  and 
John.     Then  Mark 

BARUCH  (proceeds  with  a  water-jug  to  the  welt). 
My!  but  this  day  is  a  busy  one.  Work  is  not  scarce 
this  Passover.  To  judge  by  the  crowds  of  pilgrims,  it 
cannot  be  otherwise.  My  master  must  expect  many 
guests,  for  he  bustles  about  the  house  continually. 
{Draws  water. 

JOHN  (coming  on  with  Peter  from  the  opposite  side  of 
the  stage) .  See,  here  is  some  one  at  the  well ! 

BARUCH  (still  drawing  water).  There  must  be 
something  of  moment  this  Passover,  for  the  Priests 
of  the  High  Council  go  hither  and  thither.  [Turns 
with  the  jug  toward  his  house. 

PETER.  This  must  be  he.  He  carries  a  water-jug, 
which  the  Master  bade  us  take  as  a  sign. 

BARUCH  (at  the  door  of  his  house  and  turning  around). 
What  would  you,  friends?  Be  you  welcome! 

JOHN.    We  would  speak  with  your  master. 

BARUCH.  Perhaps  you  come  to  keep  the  Passover 
with  us? 

PETER.  Yea,  our  Master  bade  us  make  this  request 
of  your  master. 

BARUCH.  Come  with  me!  For  it  will  please  my 
master  to  receive  you  in  his  house.  Look,  there  he  is 
himself.  (Mark  enters.)  Behold,  master,  I  bring 
guests. 

MARK.  Welcome,  Strangers !  In  what  way  may  I 
serve  you? 

PETER.  Our  Master  bade  us  say  to  you :  My  time 
is  near.  Where  is  the  room,  that  I  may  partake  of  the 

[46] 


Paschal  Lamb  —  I  with  my  Disciples?    With  you  will 
we  keep  this  Passover. 

MARK.  Oh  the  happiness!  Now  do  I  recognize 
you  —  the  followers  of  the  Worker  of  Miracles  who 
restored  my  sight  to  me!  How  have  I  deserved 
that,  among  all  houses  in  Jerusalem,  He  should  choose 
mine  in  which  to  partake  of  the  Holy  Meal!  How  is 
it  I  am  so  fortunate?  Indeed  blessed  is  this  house 
which  He  honours  with  His  presence!  Come,  dear 
friends,  I  will  immediately  show  you  the  guest- 
chamber. 

PETER  AND  JOHN.    Good  man,  we  follow  you. 

END   OF   ACT 


V.    REPRESENTATION 

The  Lord's  Supper 

Prologue 

Before  the  Friend  of  Heaven  above 

Unto  His  Passion  goes  — 
He  turns  unto  the  call  of  love, 
Nor  Death  can  haste  the  fall  of  love, 
His  sacrament  the  all  of  love  — 

The  earthly  pilgrim  knows. 

The  sacrificial  meal  He  takes, 

Forever  and  a  day! 
Behold,  this  is  a  sign  He  makes; 
'T  is  Life  from  bread  and  wine  He  makes ; 
And  Life  from  Death  divine  He  makes; 

Nor  Love  shall  pass  away! 

He  came  to  them  in  desert  wide  — 
To  ancient  Israel! 
[47] 


With  manna  them  He  satisfied, 
With  Canaan's  grapes  them  gratified  — 
Thus  did  the  Lord  beatified  — 
And  all  to  them  seemed  well. 

But  now  in  blood  and  body  trace 

A  mystery,  a  sign! 

'T  is  Christ  who  came  to  save  the  race, 
Whose  spirit  in  the  change  took  place, 
Who  works  through  sacrament  His  grace  — 

Our  Saviour,  Christ  Divine! 

SOLO  (Recit.).    The  hour  is  nigh 

When  He  shall  die  — 
The  Prophets  thus  did  prophesy! 

The  truth  was  told 

To  them  of  old  — 
And  now  the  awful  truth  behold! 

"  The  ancient  race 

I  will  efface, 
Their  offering  shall  now  give  place, 

For  lo !   in  them  — 

And  woe !  in  them  — 
No  better  love  will  grow  in  them! 

"  I  consecrate, 

I  dedicate 
Unto  myself  a  Son's  estate !  " 

The  Lord  thus  spake  — 

"  I  now  forsake 

The  old  —  and  this  new  Symbol  make, 
Of  which  the  whole  Earth  will  partake !  " 

TABLEAU  :  The  Lord  gives  manna  unto  the  people. 
2  Mos.  [Exodus]  J6:3t.  The  manna  is  ihe  symbol 
of  the  holiest  of  altar  sacraments.  As  God  gave  aid 

[48] 


unto  the  Israelites  in  their  irksome  course  through  the 
wilderness,  so  Jesus  with  His  holy  love  aids  the 
Christians  through  the  wilderness  of  this  life. 

The  mystery  in  the  wilderness  of  sin 
Is  measure  of  the  spirit  here  within, 
The  Covenant  which  Christ  at  His  Last  Supper  did 
begin. 

TABLEAU  :  The  hunch  of  grapes  from  Canaan.  4  Mos. 
[Numbers]  13:  23.  The  same  as  in  the  foregoing  picture 
—  a  beautiful  allegory  of  the  bread  and  wine  of  the 
new  Covenant. 

The  Lord  is  good !    The  Lord  is  wise ! 
The  Lord  His  people  satisfies! 

The  Lord  is  good, 

For  this  new  food 
He  brings  to  us  in  wondrous  wise. 

Oh,  death  has  swept  the  wilderness! 
To  Israel  food  was  comfortless, 

Nor  filled  the  wand'rers  in  their  grief! 
But  see  the  holy  bread  we  break ; 
If  we  in  humbleness  partake, 

'Twill  bring  our  souls  relief! 

The  Lord  is  good!    The  Lord  is  kind! 
The  Israelites  He  bore  in  mind! 
And  brought  the  fruit  of  wine  to  them, 
And  brought  from  Canaan's  vine  to  them! 

But  all  the  fair  fruit  of  the  field 
Can  naught  but  to  the  body  yield; 
The  soil  instilled  it  so ! 

4  [49] 


Yet  this  new  Covenant  begun, 
Shall  be  the  blood  of  God's  own  Son ; 
The  Lord  has  willed  it  so ! 

The  Lord  is  good !    The  Lord  is  just ! 
He  gives  the  wine  and  breaks  the  crust, 
As  pledge  of  Life  beyond  the  dust; 
And  flesh  and  blood  is  in  its  place, 
And  Salem's  hall  is  warm  with  grace ! 


ACT  V 

Christus  'with  His  Disciples  partakes  of  the  last  Passover, 
and  establishes  the  New  Covenant  to  His  memory. 

FIRST    SCENE 

The  Guest-chamber.     Christus  and  the  Twelve,  standing 
at  the  Table 

CHRISTUS.  Most  anxiously  have  I  longed  to  take 
this  Passover  meal  with  you  ere  I  suffered.  For  I 
say  unto  you :  Henceforth  I  will  no  longer  eat  thereof, 
until  all  be  fulfilled  in  the  Kingdom  of  God.  Father! 
I  thank  Thee  for  this  potion  of  the  vine.  ^Drinks,  and 
passes  the  cup  to  His  THsdptes.)  Take  this,  and  di- 
vide it  among  yourselves,  for  I  say  unto  you :  Hence- 
forth will  I  no  longer  partake  of  the  fruit  of  the  vine 
until  the  Kingdom  of  God  shall  be. 

THE  APOSTLES.  Ah,  Master,  is  this  then  the 
last  Passover? 

CHRISTUS.  A  potion  will  I  drink  with  you  in  the 
Kingdom  of  God  the  Father ;  as  it  is  written :  From  the 
stream  of  happiness  will  you  make  them  drink. 

[50] 


PETER.  Master,  when  this  Kingdom  comes,  how 
will  our  positions  be  meted  out  to  us? 

JAMES  THE  ELDER.  Who  will  have  precedence 
among  us? 

THOMAS.  Will  each  one  of  us,  perchance,  be 
granted  the  lordship  of  a  separate  land? 

BARTHOLOMEW.  That  would  be  much  the  best 
way;  for  then  no  dispute  would  arise  among  us. 

CHRISTUS,  Thus  long  have  I  been  with  you, 
and  still  are  you  most  concerned  in  earthly  matters. 
Verily,  for  you,  who  have  with  me  borne  my  trials  and 
temptation,  I  assure  the  Kingdom  which  my  Father 
has  made  ready  for  me ;  that  therein  you  may  eat  and 
drink  at  my  table,  and,  seated  upon  thrones,  judge  the 
twelve  tribes  of  Israel.  But  mark:  the  kings  of  the 
people  rule  over  them  as  dictators,  and  the  dictator  it 
is  whom  they  call  benefactor.  But  thus  shall  it  not 
be  with  you.  For  the  greatest  among  you,  let  him  be 
the  least,  and  the  master  be  as  your  servant !  For  who 
is  greater,  he  who  sits  at  the  table  or  he  who  serves? 
What  say  you,  my  Disciples?  I  am  in  the  midst  of 
you  as  one  who  serves.  (He  lays  aside  His  upper  gar- 
ment, girds  Himself  around  tvith  a  white  linen  towel, 
and  pours  'water  in  a  basin.)  Now,  be  seated,  beloved 
Disciples. 

THE  APOSTLES.    What  will  He  do  now? 
CHRISTUS.    Peter,  reach  me  forth  your  foot! 
PETER.    Lord,  would  you  wash  my  feet? 

CHRISTUS.  What  I  do,  you  may  not  now  under- 
stand, but  afterwards  will  it  all  be  plain  to  you. 

[SO 


PETER.  Master!  Never  will  I  let  you  wash  my 
feet! 

CHRISTUS.  If  I  do  not  wash  you,  then  will  you 
have  no  share  with  me. 

PETER.  Master,  if  such  be  the  case,  not  only  my 
feet,  but  also  my  hands,  my  head! 

CHRISTUS.  He  who  is  washed  already,  need  but 
bathe  his  feet,  for  he  is  quite  clean.  (Washes  the  feet 
of  each  <Disdple ;  afterwards  He  replaces  His  outer  gar- 
ment, and,  standing  in  their  midst,  looks  around.}  Ye 
are  now  clean,  but  not  all.  (Seats  Himself.)  Know 
you  what  I  have  done  unto  you?  You  call  me  Mas- 
ter and  Lord,  and  you  say  well,  for  so  I  am.  If 
now,  I,  your  Master,  have  washed  your  feet,  so  should 
you  also  do  likewise  unto  each  other.  For  I  have 
given  unto  you  an  example,  that  you  may  so  do  as  I 
have  done.  Verily,  verily,  the  servant  is  not  greater 
than  He  who  sent  him.  If  you  know  these  things, 
blessed  are  you  if  you  do  them.  (Rising  again.)  Chil- 
dren, not  much  longer  shall  I  be  amongst  you.  But 
that  my  memory  may  never  die,  I  shall  leave  behind 
me  an  everlasting  symbol  of  my  eternal  presence. 
The  Old  Covenant  between  my  Father  and  Abraham, 
Isaac,  and  Jacob  is  at  an  end.  And  I  say  unto  you: 
A  New  Covenant  now  begins,  which  I  consecrate  with 
mine  own  blood,  as  God  the  Father  commanded  of 
me.  And  this  shall  endure  until  all  is  fulfilled.  (He 
takes  the  bread,  blesses  and  breaks  it.)  Take  and  eat ! 
This  is  my  body,  which  will  be  sacrificed  for  you. 
(Gtves  each  Disciple  a  small  piece.)  This  do  in  re- 
membrance of  me!  (Lifts  the  chalice  of  wine  and 
blesses  it.)  Take  this  and  drink  therefrom,  for  it  is 
the  cup  of  the  New  Testament  in  my  blood  which  is 
shed  for  you  and  others  —  shed  for  the  forgiveness  of 

[52] 


sin.     (Hands  the  cap  to  each  one.)     So  often  as  ye  do 
this,  do  it  in  remembrance  of  me.    [Seats  Himself. 

Angel  Chorus  during  the  Holy  Supper* 

Oh,  the  humble !  oh,  the  loving ! 
See  the  Saviour  kneeling  there, 
At  the  feet  of  His  Disciples, 
Serving  humbly  and  with  care. 

Oh,  such  lowly  grace  remember, 
Love  as  He  has  loved  so  true! 
Unto  others  service  render 
Such  as  He  has  done  to  you! 

JOHN.  Best  of  Teachers,  never  will  I  forget  your 
love.  You  know  that  I  love  you.  [Bows  his  head  upon 
the  breast  of  Christus. 

THE  APOSTLES  (with  the  exception  of  Judas).  O 
Thou  who  art  so  full  of  love,  eternally  will  we  be 
bound  to  Thee. 

PETER.  This  holy  meal  of  the  New  Testament 
shall  be  perpetuated  forever  in  conformity  with  Thy 
will. 

MATTHEW.  And  so  often  as  we  celebrate  it,  will 
we  think  on  Thee ! 

ALL.  Beloved  Teacher!  O  Divine  One!  O  best  of 
friends ! 

CHRISTUS.  My  children,  abide  in  me,  and  I  will 
abide  in  you.  Even  as  the  Father  has  loved  me,  so 
have  I  loved  you.  Remain  in  my  love !  But,  —  alas ! 

*  Given  by  Stead ;  not  in  Daisenberger. 

[53] 


must  I  say  it?    The  hand  of  my  betrayer  is  here  with 
me  at  this  table. 

DISCIPLES  (severally).  How,  a  betrayer  amongst 
us? 

PETER.    Is  it  possible? 

CHRISTUS.  Verily,  verily,  I  say  unto  you:  One 
among  you  shall  betray  me. 

ANDREW.    Master,  one  of  us  twelve? 

CHRISTUS.  Yea,  one  of  the  twelve !  —  one  who 
has  dipped  his  hand  into  this  very  dish  with  me,  shall 
betray  me.  The  Scriptures  will  be  fulfilled:  Whoso 
eats  bread  with  me,  his  foot  against  me  shall  be  raised. 

THOMAS  AND  SIMON.  Who  can  this  faithless 
creature  be? 

MATTHEW.  Master,  you  can  look  into  all  hearts. 
You  know  it  is  not  I. 

THE  TWO  JAMESES.  Declare  him  openly,  the 
infamous  traitor! 

JUDAS.    Master,  is  it  I? 

THADDEUS.    Rather  my  life  than  such  a  step ! 

BARTHOLOMEW.  Rather  would  I  sink  into  the 
earth  for  shame ! 

CHRISTUS  (to  Judas).  Thou  hast  said  it.  (To  all) 
The  Son  of  Man  now  goeth  as  it  is  prophesied;  but 
woe  unto  him  through  whom  the  Son  of  Man  is  be- 
trayed !  Better  for  him  had  he  never  been  born ! 

PETER  (leaning  toward  John).  Of  whom  does  He 
speak? 

[Ml 


JOHN  (leaning  toward  Christus) .    Master,  who  is  it? 

CHRISTUS  (to  John).  It  is  he  to  whom  I  give  the 
bread  that  I  have  soaked. 

MANY  APOSTLES.    Who  might  that  be? 

CHRISTUS  (after  He  has  passed  the  bread  to 
Judas').  What  you  do,  do  quickly!  [Judas  hastens 
from  the  room. 

THOMAS  (to  Simon).  Why  does  Judas  leave  so 
suddenly? 

SIMON.  Probably  the  Master  has  sent  him  to  buy 
something. 

THADDEUS.  Or  to  distribute  alms  among  the 
poor. 

SECOND  SCENE 

CHRISTUS.  Now  will  the  Son  of  Man  be  glorified, 
and  through  Him,  God  the  Father  also.  If  God  through 
Him  is  glorified,  then  will  God  glorify  Him  in  Himself. 
Little  children  of  mine!  But  yet  awhile  am  I  among 
you.  You  would  seek  me,  but,  as  I  have  said  unto  the 
Jews:  Whither  I  go,  there  can  you  not  come.  Thus 
say  I  now  unto  you. 

PETER.    Master,  whither  do  you  go? 

CHRISTUS.  Whither  I  go,  there  can  you  not  now 
follow  me;  but  later  shall  you  come. 

PETER.  Why  not  now?  For  you  would  I  fain 
give  my  life! 

CHRISTUS.  Would  you  give  up  your  life  for 
me?  Simon,  Simon,  Satan  would  claim  you,  that  he 

[551 


might  sift  you  as  wheat  is  sifted.  But  I  have  inter- 
ceded, that  your  faith  may  not  fail  you.  And  when 
you  are  saved,  then  strengthen  your  brothers.  This 
night  will  you  all  be  offended  by  me,  for  it  already 
stands  written:  I  will  smite  the  Shepherd,  and  the 
sheep  of  His  flock  will  be  scattered. 

PETER.  Even  though  others  be  offended,  I  will 
not.  Lord,  I  am  ready  to  go  with  you  to  prison, — 
yea,  even  unto  death! 

CHRISTUS.  Verily,  verily,  I  say  unto  you:  Peter! 
to-day,  even  this  night  before  the  cock  crows  twice, 
will  you  three  times  deny  me. 

PETER.  Though  I  should  die  with  you,  yet  would 
I  never  deny  you! 

ALL.  Master,  everlastingly  will  we  remain  true 
unto  you*  None  amongst  us  shall  betray  you. 

CHRISTUS.  When  I  sent  you  forth  without  purse 
or  pouch  or  shoes,  were  you  lacking  aught? 

ALL.    No,  nothing! 

CHRISTUS.  But  now  take  each  one  his  own 
purse,  and  likewise  his  pouch.  And  whosoever  has 
no  sword,  let  him  sell  his  coat  and  buy  one.  For  there 
begins  a  time  of  trial,  and  I  say  unto  you :  In  me  must 
be  fulfilled  that  which  stands  written:  He  was  reck- 
oned among  the  transgressors. 

PETER  AND  PHILIP.  Behold,  Lord,  here  are 
two  swords! 

CHRISTUS.  Enough !  Let  us  arise  and  pronounce 
thanksgiving.  (With  His  Disciples.)  Praise  the  Lord, 

[56] 


all  you  people!  Praise  Him,  all  the  Nations  of  the 
earth !  for  His  compassion  is  established  over  us.  The 
truth  of  the  Lord  is  everlasting.  (Goes  to  the  fore- 
ground, and  remains  standing  for  a  while  with  His  face 
raised  toward  heaven.  The  Apostles  stand  on  either  side, 
with  troubled  took  upon  Him.)  My  children,  why  are  you 
so  sad,  and  why  look  upon  me  thus  grieved?  Trouble 
not  your  hearts.  You  believe  in  God;  believe  also  in 
me.  In  my  Father's  house  are  many  mansions,  and  I 
go  even  now  to  make  ready  a  place  for  you ;  then  I  will 
come  again,  and  take  you  unto  myself,  that  you  also 
may  be  where  I  am.  I  leave  you  not  as  orphans.  I 
leave  with  you  peace ;  yea,  mine  own  peace  do  I  give 
unto  you,  but  not  as  the  world  bestows  it.  Keep  this 
my  commandment:  That  you  love  one  another,  as  I 
have  loved  you!  Thereby  shall  all  know  you  as  my 
Disciples.  Hereafter  will  I  not  hold  much  speech  with 
you.  For  the  Prince  of  the  World  cometh,  although 
he  hath  naught  to  seek  in  me.  But  that  the  world  may 
know  I  love  the  Father,  thus  will  I  do  even  as  the 
Father  has  commanded  me.  Let  us  depart  from  this 
place.  [They  go. 

END   OF  ACT 


VI.     REPRESENTATION 

The  Betrayer 
Prologue 

His  foes  have  bereft  Him! 
False  friend,  thou  hast  left  Him  — 
For  silver  thou  turnest  away  to  thy  ruth ! 

[57] 


Thy  conscience  will  cloy  thee, 
Thy  error  destroy  thee, 
The  heart  of  a  fool  never  holds  to  the  truth. 

Ungrateful  you  leave  Him, 

In  shame  you  deceive  Him, 
You  traffic  in  souls  for  your  profit  and  gain! 

For  silver  betray  Him, 

For  silver  you  slay  Him, 
A  traitor's  reward  is  your  price  for  His  pain! 

'T  was  thus  that  a  brother 

Was  sold  to  another  — 
His  value  was  weighed  in  the  scales  of  the  mart ! 

No  love  could  withhold  them, 

No  mercy  enfold  them, 
These  wild  sons  of  Jacob  were  hardened  in  heart ! 

Let  silver  but  bind  you, 

Let  gold  ever  blind  you! 

Then  honour  and  love  and  man's  word  have  an 
end! 

The  idol  will  claim  you  — 

Nor  conscience  will  shame  you  — 
For  silver  or  gold  you  would  barter  your  friend ! 

SOLO.     Oh,  Judas,  art  thou  blinded  quite? 
Is  gold  so  loving  to  thy  sight 
That  thou  wouldst  sell  thy  Master  so, 
Without  a  shudder  let  Him  go? 
Thy  doom  is  laid  upon  thy  head. 
Already  has  the  Master  said: 
"  Amongst  you  one  shall  me  betray." 
Thus  spake  He  thrice.    And  yet,  oh,  stay, 
Is  there  no  fervour  in  thy  trust? 
Art  thou  so  deeply  dyed  in  lust? 
[58] 


CHORUS.    Ah,  Judas,  Judas,  do  not  sin; 

Bethink  the  crime  thou  wouldst  be  in! 
Yet  no!    By  greed  turned  deaf  and  blind, 
He  goes  to  serve  the  Council's  mind! 
The  self-same  evil  is  their  plan, 
Which  once  took  place  in  far  Dathan ! 

TABLEAU:  For  twenty  pieces  of  siher  the  sons  of 
Jacob  sett  their  brother  Joseph.  Gen.  37  :  28.  This 
scene  typifies  the  treachery  of  Judas,  ewho  unto  the 
Pharisees  delivers  his  Master  for  thirty  pieces  of  silver. 

SOLO.     "  What  am  I  bid,"  the  brothers  cry, 
"  For  this  fair  boy  you  seek  to  buy?  " 
The  life  and  blood  of  Jacob's  son 
They  fain  would  sell  to  anyone  — 
And  now  for  twenty  silver  pence, 
They  would  for  that  commit  offence. 
"What  will  you  give?  —  and  how  reward  — 
If  I  to  you  betray  the  Lord?  " 
Iscariot  spake,  and  then  agreed 
To  serve  the  Council's  bloody  need  — 
They  gave  him  silver  for  the  deed! 

CHORUS.     Behold,  this  picture  to  our  eyes, 
Reminds  us  we  are  worldly  wise, 
And  often  sell  our  friends  like  this  — 
Betraying  with  a  traitor's  kiss! 
Ye  curse  the  sale  of  Jacob's  son, 
And  him  who  sold  the  holy  One, 
And  yet  for  envy,  hate,  and  greed, 
Destroy  the  peace  and  joy  you  need! 


[59] 


ACT  VI 

Judas  comes  before  the  Sanhedrin,  and  promises  for  thirty 
pieces  of  stiver  to  hand  over  his  Master  to  the  Phar- 
isees :  these  latter  determine  on  the  death  of  Jesus. 


FIRST    SCENE 

The  High  Council 

CAIAPHAS.  Welcome  tidings,  assembled  Fathers, 
have  I  to  impart  unto  you.  The  would-be  Prophet  out 
of  Galilee,  I  hope,  will  soon  be  in  our  hands.  Dathan, 
the  zealous  Israelite,  has  won  over  to  our  cause  a  most 
trusted  companion  of  the  Galilean,  who  has  consented 
to  serve  as  guide  for  our  night  attack.  Both  of  them 
are  already  here,  and  only  await  the  summons  of  this 
august  assembly. 

MANY  VOICES.    Some  one  call  them  in. 
JOSUE.    I  will  do  so. 

CAIAPHAS.  Yes,  call  them.  (Exitjosue .)  And  now 
I  would  learn  your  will,  holy  Brothers,  as  to  the  price 
which  shall  be  given  for  the  deed. 

NATHANAEL.  The  Law  of  Moses  instructs  us 
thereon:  a  slave  shall  be  valued  at  thirty  pieces  of 
silver. 

PRIESTS.  Yes,  yes,  such  a  slave's  price  is  the  false 
Messiah  worth! 

[60] 


SECOND    SCENE 

Dathan  and  Judas  come  before  the  High  Council. 

DATHAN.  Most  learned  Council!  Herewith  my 
errand  is  complete,  for  I  present  to  you,  Fathers,  a 
man  who,  in  return  for  a  suitable  reward,  is  willing 
to  deliver  our  enemy  which  we  have  in  common  into 
your  authority.  He  is  an  intimate  associate  of  yon 
Galilean,  and  knows  His  ways  and  His  secret  haunts. 

CAIAPHAS  (to  Judas).  Know  you  the  man  whom 
the  High  Council  seeks? 

JUDAS.  For  a  long  while  have  I  been  of  His  com- 
pany; yea,  I  know  Him  and  also  where  He  is  wont 
to  stop. 

CAIAPHAS.    What  is  your  name? 

JUDAS.  I  am  CeJled  Judas,  and  am  one  of  the 
Twelve. 

PRIESTS.  Truly,  we  have  seen  you  often  with 
Him! 

CAIAPHAS.  Are  you  now  fully  determined  to  aid 
us  in  conformity  with  our  will? 

JUDAS.    I  give  you  my  word  thereon. 

CAIAPHAS.  Will  you  not  repent  of  it?  What  has 
moved  you  to  this  step? 

JUDAS.  The  friendship  between  Him  and  me  has 
been  cooling  for  some  time,  and  now  have  I  quite 
broken  with  Him. 

CAIAPHAS.  What  has  caused  you  to  take  this 
step? 

[61] 


JUDAS.  There  is  naught  more  to  be  had  from  Him, 
and  upon  the  whole  I  am  resolved  to  conform  to  lawful 
authority,  which  is  assuredly  the  best.  What  will  you 
give  me  if  I  deliver  Him  over  to  you? 

CAIAPHAS.  Thirty  pieces  of  silver  shall  be  yours, 
and  that  immediately. 

DATHAN.  Hear,  Judas,  thirty  pieces  of  silver! 
What  profit ! 

NATHANAEL.  And  mark,  Judas,  that  is  not  all. 
If  you  accomplish  your  work  well,  then  further  con- 
sideration will  be  made  you! 

EZEKIEL.  You  may  become  a  rich  and  distin- 
guished man. 

JUDAS.  I  am  satisfied.  (To  himself.)  Now,  indeed, 
rises  my  true  star  of  hope. 

CAIAPHAS.  Rabbi,  bring  the  thirty  pieces  of  silver 
from  the  Treasury,  and,  in  the  presence  of  the  entire 
Council,  pay  them  over.  Is  this  your  will? 

PRIESTS.    Indeed  it  is !     [Rabbi  departs. 

NICODEMUS.  How  can  you  conclude  such  a 
wicked  bargain?  (To  Judas.)  And  you,  base  wretch, 
do  you  not  blush  to  sell  your  Lord  and  Master,  you 
godless,  perfidious  creature  whom  the  earth  shall 
swallow  up?  For  thirty  pieces  of  silver  you  would 
betray  your  most  loving  Friend  and  Benefactor?  Stay, 
ere  it  is  too  late!  this  blood  money  will  cry  unto 
Heaven  for  vengeance,  and  will  burn  into  your  avari- 
cious soul  some  day  like  hot  iron!  [Judas  stands  trem- 
bling and  undone. 

JOSUE.  Be  not  annoyed,  Judas,  by  the  speech  of 
this  zealot.  Let  him  be  a  disciple  of  this  false  Prophet. 

[62] 


But  you  do  your  duty  as  a  follower  of  Moses,  and  at 
the  same  time  you  serve  the  lawful  authorities. 

RABBI  (arrives  with  the  silver).  Come,  Judas,  take 
the  thirty  pieces  of  silver  and  play  the  man !  [Counts 
oat  the  money  to  him,  ringing  each  piece  upon  the  table,  so 
that  it  sounds  lustily  ;  Judas  pockets  the  coins  greedily. 

JUDAS.    My  word  upon  it,  you  may  depend  on  me. 
SARAS.    Before  the  Feast  the  work  must  be  done. 

JUDAS.  At  this  moment  the  most  perfect  oppor- 
tunity offers  itself.  He  shall  be  in  your  hands  to-night ! 
Give  me  an  armed  guard  so  that  He  may  be  well 
surrounded,  so  that  every  way  of  flight  may  be  shut 
from  Him. 

ANNAS.    Let  us  send  the  Temple  watch. 
EZEKIEL.    Yes,  yes,  order  them  to  go  forthwith! 

CAIAPHAS.  It  would  seem  also  advisable  to  dis- 
patch some  members  of  the  holy  Sanhedrin. 

ALL.    We  are  all  ready. 

EZEKIEL.    The  High  Priest  must  choose. 

CAIAPHAS.  Be  that  the  case,  then  I  select  Nathan, 
Josaphat,  Salomon,  and  Ptolemaus.  [The  four  stand  up. 

THE  PRIESTS.    We  are  ready. 

CAIAPHAS.  But,  Judas,  how  will  the  Master  be 
recognized  in  the  dark? 

JUDAS.  The  soldiers  shall  come  with  torch  and 
lantern,  and  besides,  I  will  give  them  a  sign. 

PRIESTS.     Excellent!     Excellent! 

[63] 


JUDAS.  Now,  I  must  hasten  ahead  and  spy  upon 
everything,  then  return  for  the  armed  force. 

DATHAN.  I  will  accompany  you,  Judas,  and  never 
leave  your  side  until  the  work  is  done. 

JUDAS.  At  the  Gate  of  Bethphage  I  shall  await 
your  men.  [Judas  goes  with  Dathan  and  the  four  delegates. 

THIRD    SCENE 
The  High  Council 

CAIAPHAS.  All  moves  excellently  well,  worthy 
Fathers.  But  now  it  were  best  for  us  to  consider  the 
leading  question:  What  shall  we  do  with  this  Man, 
once  He  is  delivered  into  our  hands? 

SADOK.  Let  Him  be  thrown  into  the  deepest,  the 
darkest  dungeon,  and  kept  there,  loaded  down  with 
chains  and  well  guarded!  There,  let  Him  go  through 
a  living  death! 

CAIAPHAS.  Who  among  you  can  guarantee  that 
His  friends  would  not  provoke  a  riot  and  set  Him  free, 
or  that  the  guard  might  not  be  bribed?  By  means  of 
His  atrocious  magic,  could  He  not  break  through  His 
chains?  (The  Priests  are  silent.)  I  see  clearly  you 
neither  know  nor  understand.  Hear  then  the  High 
Priest.  It  is  better  that  one  man  die  than  that  a  whole 
nation  go  to  ruin.  He  must  die !  Until  He  dies  there 
is  no  peace  in  Israel,  no  safety  for  the  Law  of  Moses, 
no  hour  of  rest  for  us ! 

RABBI.  God  hath  spoken  through  His  High  Priest ! 
Only  by  the  death  of  Jesus  of  Nazareth  can  the  people 
of  Israel  be  delivered! 

[64] 


NATHANAEL.  For  a  long  while  have  the  same 
words  been  upon  my  lips.  And  now  have  they  been 
spoken.  Let  Him  die,  this  enemy  of  our  Fathers! 

PRIESTS  (excitedly).  Yes,  He  must  die!  In  His 
death  is  our  salvation! 

ANNAS.  By  these  gray  hairs  of  mine,  I  swear:  I 
will  not  rest  until  our  insult  is  wiped  out  in  the  blood 
of  this  Seducer. 

NICODEMUS.  May  I  be  allowed  a  word,  O 
Fathers? 

ALL.    Yes,  speak,  speak! 

NICODEMUS.  Thus  far  has  the  judgment  upon 
this  Man  been  spoken  without  a  hearing,  an  examina- 
tion, or  a  gathering  of  witnesses.  Is  this  a  proceeding 
worthy  the  priests  of  the  people  of  God? 

NATHANAEL.  What!  dare  you  accuse  the  Coun- 
cil of  injustice? 

SADOK.     Know  you  the  holy  Law?     Compare  — 

NICODEMUS.  I  know  the  Law;  and  therefore  do 
I  also  know:  Before  all  testimony  is  examined,  the 
judge  is  not  allowed  to  render  judgment. 

JOSUE.  What  need  is  there  now  for  further  wit- 
nesses? We  ourselves  have  heard  His  speech  and 
have  noted  His  acts  whereby  He  has  outraged  the 
Law. 

NICODEMUS.  You  are  all  accusers,  witnesses,  and 
judges  in  one.  I  have  listened  to  His  sublime  teaching 
and  have  seen  Him  perform  His  miraculous  deeds ;  they 
deserve  belief  and  admiration,  not  contempt  and 
punishment. 

5  [65] 


C AIAPH AS.  What !  this  scoundrel,  Jesus  of  Naza- 
reth, deserves  admiration?  Admiration?  You  believe 
in  the  Law  of  Moses,  and  yet  will  justify  what  the 
Law  condemns?  Ha,  Fathers,  up,  the  Law  demands 
vengeance ! 

PRIESTS.  Out  from  our  midst  if  you  persist  in 
such  speech! 

JOSEPH  OF  ARIMATH^A.  I  agree  with  Nico- 
demus.  Naught  has  been  proven  against  Jesus  which 
makes  Him  deserving  of  death.  He  has  done  nothing 
but  good. 

C  AIAPH  AS.  You  also?  Is  it  not  everywhere 
known  how  He  desecrated  the  Sabbath,  and  misled  the 
people  by  His  false  speech?  In  His  deception  has  He 
not  performed  His  so-called  wonders  through  Beelze- 
bub? Has  He  not  set  Himself  up  as  a  God,  He  who 
is  merely  a  man? 

THE  PRIESTS.    Do  you  hear  that? 

JOSEPH  OF  ARIMATH^A.  Yea,  envy  and 
malice  have  wrongly  construed  His  words  and  attrib- 
uted base  motives  to  His  worthiest  deeds.  That  He 
is  from  God,  His  godlike  acts  bear  witness. 

NATHANAEL.  Ha!  we  know  you!  For  a  long 
time  you  have  been  a  secret  follower  of  this  Galilean! 
Now  you  have  fully  unmasked  yourself. 

ANNAS.  So,  even  in  our  very  midst  have  we  trai- 
tors to  the  holy  Law  —  even  thus  far  has  the  Deceiver 
cast  His  net! 

C  AIAPH  AS.  What  do  you  here,  you  Apostates? 
Return  to  your  Prophet,  hasten  after  Him,  ere  His 
hour  strikes  when  He  shall  die!  That  is  irrevocably 
said! 

[66] 


PRIESTS.    Yes,  He  must  die !    Such  is  our  decree ! 

NICODEMUS.  I  deplore  this  resolve;  no  part 
whatsoever  will  I  have  in  this  infamous  proceeding. 

JOSEPH  OF  ARIMATH^EA.  Likewise  will  I  for- 
swear the  place  where  the  innocent  are  murdered.  I 
swear  to  God :  My  soul  is  clean !  [Exit  Nicodemus  and 
Joseph. 

FOURTH    SCENE 
The  High  Council 

JOSUE.  At  last  we  are  rid  of  these  traitors.  Now 
may  we  speak  freely  among  ourselves. 

CAIAPHAS.  Brothers,  it  will  certainly  be  neces- 
sary for  us  to  sit  in  formal  judgment  on  this  Man ;  yea, 
and  to  examine  Him,  else  the  people  may  believe  we 
persecuted  Him  out  of  hate  and  malice. 

JACOB.    The  Law  requires  at  least  two  witnesses. 

SAMUEL.  We  shall  not  be  lacking  as  to  witnesses; 
I  myself  shall  take  care  of  that. 

DARIABAS.  Our  sentence  stands  as  at  first  de- 
termined, but  in  order  to  satisfy  the  timid  we  must 
observe  the  legal  forms. 

EZEKIEL.  Should  these  not  be  sufficient,  then 
must  our  force  of  mind  and  will  supply  the  rest. 

RABBI.  What  matter  if  He  be  guilty,  more  or  less? 
The  public  weal  demands  once  and  for  all  that  He  be 
removed. 

CAIAPHAS.  Moreover,  in  the  fulfilment,  it  would 
be  far  safer  if  we  could  bring  it  about  that  the  Gov- 

[67] 


ernor  of  the  Province  condemn  Him  to  death  —  then 
would  all  responsibility,  all  blame,  be  removed  from  us. 

NATH  ANAEL.  This  we  might  try.  And  if  it  does 
not  succeed,  there  is  always  left  us  to  have  our  sen- 
tence carried  out  by  our  representatives  during  the 
excitement  of  a  riot !  This  could  we  do,  without  being 
openly  concerned  in  the  matter. 

RABBI.  And  in  the  case  of  dire  failure  on  our  part, 
we  assuredly  could  find  some  hand  which,  in  the  silence 
of  the  dungeon-keep,  would  rid  the  Sanhedrin  of  its 
enemy. 

CAIAPHAS.  Time  will  show  us.  And  now,  let  us 
adjourn.  But  be  ready  at  any  hour  of  the  night.  I 
may  have  to  call  you,  for  there  is  no  time  to  lose.  Our 
resolve  is :  He  dies ! 

ALL  (vehemently).  He  dies,  He  dies  — this  enemy 
of  our  holy  Law ! 

END  OF  ACT 


VII.    REPRESENTATION 

Chrisius  on  the  Mount  of  Olives 
Prologue 

The  weight  of  sin  rests  on  the  Saviour  now, 
As  once  on  Adam  fell  the  bitter  strife  — 
His  strength  exhausted,  sweat  upon  his  brow 
Who  fought  to  expiate  his  guilt  in  life. 

[68] 


The  Saviour's  head  is  bowed,  His  face  is  white, 
With  bloody  drops  of  silent  anguish  found ; 
There,  on  Gethsemane  He  fights  His  fight, 
Heartweary  in  a  sea  of  sadness  bound. 

But  hark,  the  leader  of  the  band  draws  near  — 
Iscariot,  the  faithless,  the  untrue  — 
In  shameless  profanation,  and  with  sneer, 
Intent  upon  the  work  he  has  to  do ! 

JT  was  thus  that  Joab  with  unfeigned  guile, 
Amasa's  hand  held  fast  in  friendly  part, 
And  kissed  him  on  the  lips  with  cunning  smile, 
And  pressed  the  dagger's  blade  into  his  heart! 

SOLO.    Lo,  Judas  took  the  bit  of  broken  bread, 
Which,  at  the  Sacrament,  the  Master  blessed! 
All  doubts  within  him  on  the  moment  fled, 
And  thoughts  of  Satan  welled  within  his  breast ! 

Then  spake  the  Lord,  "  Oh,  Judas,  wicked  one ! 
What  thou  wouldst  do,  let  it  be  quickly  done." 
Then  Judas  turned,  and  hastened  from  the  room, 
And  pledged  himself  unto  the  Saviour's  doom! 

The  deed  accomplished  and  the  aim  achieved! 
What  terror  in  the  thought,  the  world  dismayed ! 
The  Christ  by  Judas  pledged  to  be  deceived! 
The  Christ  by  Judas  kissed  and  thus  betrayed ! 

CHORUS.    Now  come,  ye  people,  and  with  Jesus  go, 
To  see  Him  suffer  on  the  cross,  and  die ! 
The  night  descends,  yet  in  the  evening  glow, 
The  sign  of  hope  draws  nigh! 
[69] 


TABLEAU:  Adam  in  bitterness  must  eat  his  bread. 
Gen.  3 : 17 .  Like  Adam,  who  for  his  sin  toiled  in 
sweat  for  his  punishment,  so  Christus  shall  on  the 
Mount  of  Olives  be  drenched  in  the  cold  sweat  of 
agony,  and  expiate  the  sins  of  Mankind. 

SOLO.     Consuming  heat  and  bitter  dread, 
In  weight  descend  on  Adam's  head  — 
The  sweat  of  anguish  and  disgrace, 
Like  drops  of  blood  upon  his  face ! 

CHORUS.     Behold,  the  fruit  of  sin  is  there, 
God's  curse  on  Nature  made  aware! 
For  racking  pain  and  toilsome  gain 
But  little  fruit  can  Nature  spare! 

SOLO.    Thus  our  Saviour,  sorely  yearning, 
Bitter  anguish  in  Him  burning, 
Adam's  sin  upon  Him  weighing, 
On  Gethsemane  is  praying! 

CHORUS.    'Gainst  sin  He  struggles  for  the  world, 

'Gainst  sin  His  strength  the  Lord  has  hurled  — 
He  quivers,  trembles,  yet  is  brave, 
And  drinks  the  sorrow  of  the  grave ! 

TABLEAU :  Joab,  pretending  to  give  a  friendly  kiss  to 
Amasa,  thrusts  a  dagger  into  his  body.  2  Sam.  20  :  9. 
The  picture  recalls  the  kiss  bv  which  Judas  betrayed 
the  Saviour. 

CHORAGUS  (9?ec#.)-    The  scene,  once  famed  in  Gib- 
eon's  land, 
Repeats  itself  at  Judas'  hand! 

[70] 


Ye  rocks  of  Gibeon,  cry  aloud! 
Ye  rocks,  which  mists  of  night  enshroud, 
Ye  once  could  boast,  ye  once  were  proud! 
But  now,  dishonoured,  do  ye  stand  — 
Ye  rocks  once  famed  in  Gibeon's  land! 
Yea,  speak  that  we  may  understand! 

CHORUS  (in  the  distance}.    Away,  ye  wanderer,  away 

from  here! 

This  blood-stained  spot,  accursed  and  drear, 
Is  where  Amasa's  life  was  spilled, 
In  friendly  guise  by  Joab  killed. 
Oh,  cursed  be,  oh,  cursed  be! 
The  curse  of  curses  rest  on  thee ! 

CHORAGUS.    The  rocks  complain! 

Revenge  the  stain! 

The  blood-soaked  earth  revenge  hath  ta'en! 
Ye  rocks  of  Gibeon,  silence  while  we  tell 
What  at  Gethsemane  befell! 

Ye  rocks  of  Gibeon,  Judas  thither  came, 
Dissembling,  lying,  restless  without  shame  — 
Upon  the  Master  sealed  a  kiss,  and  turned 
Unto  the  silver  such  a  deed  had  earned! 

CHORUS.    Accursed  they 

Whom  friends  betray, 
Who  love  pass  by 
With  lie  on  lie! 
Who  kiss  in  guile, 
With  cunning  smile. 
Curse  ye  such  souls  that  thus  dissemble ! 
Curse  those  whom  Judas  doth  resemble! 
[71] 


ACT  VII 

Christus  suffers  the  bitter  death-agony;  is  betrayed  by 
Judas  with  a  kiss  into  the  hands  of  the  soldiers  'who 
lead  Him  captive  away. 

FIRST    SCENE 

In  the  Neighbourhood  of  the  Mount  of  Olives.  — Judas, 
Nathan,  Josue,  Ptolomaus,  Salomon,  the  Traders, 
Selpha,  Malchus,  the  Soldiers 

JUDAS.  Now  take  care!  We  are  drawing  near  to 
the  place  where  in  retirement  the  Master  rests.  In 
this  lonely  spot  for  the  last  time  He  spends  the  night. 

SALOMON.  It  would  be  well  to  avoid  having  the 
Disciples  spy  us  too  soon. 

JUDAS.  They  are  unconcerned  and  suspect  naught 
of  an  attack.  Hence  we  need  fear  no  resistance. 

SOLDIER.  And  should  they  attempt  it,  they  would 
soon  feel  the  strength  of  our  arms ! 

JUDAS.  Rest  easy.  You  will  capture  Him  without 
the  use  of  a  sword. 

JOSAPHAT.  But  how  will  we  recognize  Him  in 
the  dark,  so  as  not  to  take  another  instead  of  the  one 
we  desire? 

JUDAS.  Mark  the  sign  I  will  give  to  you.  As  soon 
as  we  enter  the  garden,  then  pay  close  attention !  For 
I  will  hurry  up  to  Him,  and  whomsoever  I  kiss,  that  is 
He.  Him  you  must  bind. 

[7*] 


KORAH.  Good !  with  such  a  sign  we  could  not  go 
astray. 

PTOLOMAUS  (to  the  Solders).  Do  you  hear?  By 
the  kiss  shall  you  know  the  Master. 

SOLDIER.    Indeed!    We  will  not  mistake  Him! 

JUDAS,  Make  haste!  The  time  has  come;  we  are 
not  so  far  away  from  the  garden. 

JOSAPHAT.  Judas,  if  all  goes  well  with  us  this 
night,  then  shall  you  reap  rich  profit  from  your  work. 

TRADERS.    We  also  will  give  you  a  large  reward. 

SOLDIERS.  Beware,  you  Stirrer  up  of  the  people! 
Soon  will  your  deserts  overtake  you !  [  They  exit. 

SECOND    SCENE 
The  Mount  of  Olives 

Chrisius  and  His  Disciples  come  forward  slowly  from  the 
background. 

CHRISTUS.  Verily,  verily,  I  say  unto  you:  You 
shall  weep  and  lament,  but  the  world  will  shout  for 
joy.  You  shall  be  sad,  but  your  grief  will  be  turned 
into  exultation.  For  I  will  see  you  again,  and  your 
heart  will  be  glad,  yea,  and  your  joy  no  one  can  take 
from  you.  I  forsake  the  world,  and  enter  unto  my 
Father. 

PETER.  Behold,  you  speak  clearly  unto  us,  and  no 
longer  in  parables. 

JAMES  THE  ELDER.  Now  we  realize  you  know 
all  things  and  need  ask  of  no  one. 

[73l 


THOMAS.  Hence  we  believe  that  you  are  come 
from  God. 

CHRISTUS.  Do  you  now  have  faith?  But  behold! 
The  hour  is  coming,  yea,  is  already  come,  when  you, 
each  to  his  own,  shall  be  scattered,  and  shall  leave  me 
alone.  Yet  still  am  I  not  alone,  for  our  Father  is  with 
me.  Yea,  Father!  The  hour  has  come!  Exalt  Thy 
Son,  so  that  He  may  glorify  Thee !  I  have  fulfilled  the 
work  Thou  hast  put  upon  me  to  do;  I  have  disclosed 
Thy  name  to  men,  whom  Thou  gavest  me.  Holy 
Father,  receive  them  in  Thy  name.  Hallow  them,  con- 
secrate them  in  the  Truth.  Not  alone  do  I  beg  for 
them,  but  also  for  those  who  through  Thy  word  shall 
believe  in  me  —  that  all  may  be  one,  even  as  Thou, 
Father,  art  in  me,  and  I  in  Thee.  Father !  I  would  that 
wheresoever  I  am,  they  may  be  also  —  those  whom 
Thou  hast  given  me,  that  they  may  behold  my  splen- 
dour which  Thou  hast  bestowed  upon  me.  For  Thou 
didst  love  me  before  the  beginning  of  time.  (Reaching 
the  entrance  to  Gethsemane,  Christus  turns  to  the  Dis- 
ciples ^ith  infinite  sadness.)  Children,  rest  here, 
while  I  go  within  and  pray.  —  Pray  also  that  you 
do  not  fall  into  temptation.  But  you,  Peter,  James, 
and  John,  follow  me !  [Enters  with  the  three  Disciples. 

DISCIPLES  (who  remain  behind).  What  has  oc- 
curred to  our  Master? 

BARTHOLOMEW.  Never  have  I  seen  Him  so 
sad. 

JAMES  THE  LESS.  My  heart  also  is  full  of 
anguish. 

MATTHEW.  Oh,  that  this  night  were  over,  with 
its  fateful  hours. 

[74] 


A  DISCIPLE.  Not  without  cause  has  the  Master 
prepared  us  for  this. 

PHILIP.  Dear  Brothers,  let  us  here  settle  ourselves 
until  He  returns. 

THOMAS.  Yes,  I  am  quite  weary  and  weak.  [.All 
sit  down. 

CHRISTUS  (in  the  foreground,  to  the  three  Apostles'). 
Oh,  beloved  Children,  my  soul  is  troubled,  even  unto 
death.  Remain  here  and  watch  with  me!  (After  a 
pause.)  I  will  go  hence  a  little  ways,  that  I  may 
strengthen  myself  through  communion  with  my 
Father.  [Moves  toward  the  grotto  slowly  and  with  fal- 
tering steps. 

PETER  (gazing  after  him).    Ah,  best  of  Masters! 

JOHN.  My  soul  suffers  with  the  soul  of  our 
Teacher. 

PETER.    I  am  so  downcast,  so  anxious. 

JAMES.  Why  does  the  good  Master  thus  separate 
us  now  from  one  another? 

JOHN.    AJas,  we  are  to  be  witnesses. 

PETER.  You  remember,  Brothers,  we  were  wit- 
nesses of  His  transfiguration  on  the  mountain.  But 
now  —  what  is  it  we  must  see  ?  [  They  gradually  fall 
asleep. 

CHRISTUS  (near  the  grotto).  In  such  manner  shall 
the  hour  come  upon  me  —  the  hour  of  darkness!  For 
this,  indeed,  I  was  sent  into  the  world.  (Reaching  the 
grotto,  He  throws  Himself  upon  His  knees.)  Father! 
My  Father!  If  it  is  possible  —  and  with  Thee  all 

[75] 


things  are  possible  —  then  let  this  cup  pass  from  me. 
(Falls  upon  His  face  and  remains  awhile,  rising  to  His  knees 
once  more.)  Yet,  Father,  not  as  I  would,  but  as  Thou 
wouldst,  shall  it  be  done!  (Stands,  gazes  to  heaven, 
then  returns  to  His  three  Disciples.)  Simon! 

PETER  (as  in  a  dream).    Alas,  my  Master! 
CHRISTUS.    Simon,  are  you  asleep? 
PETER.    Master,  see,  here  am  I! 

CHRISTUS.  Could  you  not  watch  with  me  an 
hour? 

PETER.    Master,  forgive  me ! 

JOHN  AND  JAMES.    Rabbi,  sleep  overcame  us. 

CHRISTUS.  Alas,  watch  and  pray,  that  you  fall 
not  into  temptation. 

THE  THREE  APOSTLES.  Yea,  Master,  we  will 
pray  and  watch. 

CHRISTUS.  The  spirit  is  willing,  but  the  flesh  is 
weak.  (Returns  to  the  grotto.)  My  Father,  Thy  de- 
mand is  just !  Thy  decrees  are  holy.  Thou  askest  this 
sacrifice —  (Falls  on  His  knees.)  Father,  the  battle  is 
difficult!  (Bends  low  and  then  raises  Himself.)  Still,  if 
the  cup  cannot  pass  me,  without  I  drink,  then,  Father, 
Thy  will  be  done.  (Stands  up.)  Holy  One,  by  me  shall 
all  be  worthily  accomplished.  (Turns  toward  the  sleep- 
ing Disciples.)  Are  your  eyes  then  so  heavy  that  you 
cannot  watch  with  me  ?  Oh,  my  trusted  followers,  even 
in  you  I  find  no  consolation !  ( Taking  a  few  steps  toward 
the  grotto,  He  pauses.)  Alas,  how  dark  is  everything 
around  me !  The  pangs  of  death  overwhelm  me !  The 
burden  of  godly  judgment  rests  upon  me.  Oh,  the 

[76] 


sins,  the  sins  of  mankind !  they  weigh  me  down !  Oh, 
the  fearful  burden!  Oh,  the  bitterness  of  this  cup! 
(Reaches  the  grotto.)  My  Father!  (On  His  knees,)  If 
this  hour  may  not  be  taken  from  me,  then  Thy  will  be 
done,  Thy  most  holy  will !  — Father,  Father  — Thy 
Son  —  hear  Him! 

THIRD    SCENE 
An  Angel  appears. 

THE  ANGEL.  Son  of  Man!  Hallow  Thy  Father's 
will!  Contemplate  the  eternal  bliss  which  will  come 
out  of  Thy  Passion!  The  Father  has  put  upon  Thee, 
and  Thou  hast  freely  taken  it  upon  Thyself,  to  atone 
for  the  sins  of  Mankind.  Do  what  Thou  hast  set  out 
to  do.  The  Father  will  glorify  Thee. 

CHRISTUS.  Yea,  most  Holy  Father!  I  reverence 
Thy  will  —  and  by  me  shall  it  be  consummated  —  to 
reconcile,  to  save,  to  bless.  (Stands  up.)  Fortified 
through  Thy  word,  O  Father,  I  go  joyfully  to  the 
fate  ordained  me  as  hostage  for  the  sins  of  the  world. 
( To  the  three  Disciples.)  Sleep  on  and  rest ! 

PETER.    What  is  it,  Master? 

THE  THREE.    Behold,  we  are  ready. 

CHRISTUS.  The  hour  has  come.  The  Son  of  Man 
will  be  delivered  into  the  hands  of  the  sinners.  Arise, 
and  let  us  go.  [A  clank  of  weapons  is  heard;  the  other 
Disciples  waken. 

DISCIPLES  (in  the  background).  What  is  that 
uproar? 

PHILIP,  Come,  let  us  gather  around  the  Master. 
We  will  not  leave  Him.  [  They  hasten  toward  Christus. 

[77] 


CHRISTUS.  Behold!  He  who  shall  betray  me 
draws  near. 

ANDREW.    What  means  this  multitude? 
ALL.    Alas !   we  are  undone ! 
JOHN.    And  see,  Judas  at  their  head! 

FOURTH    SCENE 

JUDAS  (hastening  toward  Christus).  Rabbi,  greet- 
ings be  unto  you.  [Kisses  Him. 

CHRISTUS.  Friend,  why  do  you  come?  Judas, 
with  a  kiss  you  betray  the  Son  of  Man!  ( Advances 
toward  the  crowd.)  Whom  seek  you? 

SOLDIERS.    Jesus  of  Nazareth. 

CHRISTUS.    I  am  He.     [  The  leaders  bow  down. 

SOLDIERS.  Woe  unto  us!  What  is  this?  [They 
fall  to  the  ground. 

DISCIPLES  (joyfully).  One  word  from  Him  upsets 
them! 

CHRISTUS  (to  the  Soldiers).    Fear  not!    Stand  up! 

DISCIPLES.  Lord,  cast  them  down,  that  they  may 
nevermore  arise. 

CHRISTUS.    Whom  seek  you? 
SOLDIERS.    Jesus  of  Nazareth. 

CHRISTUS.  I  have  already  said  that  I  am  He.  If 
then  you  seek  me,  let  these  others  go. 

SELPHA.    Seize  Him! 

[78] 


PHILIP.  Master,  shall  we  strike  with  our  swords? 
[Peter  cuts  off  the  ear  of  Malchus. 

MALCHUS.  Woe!  I  am  hurt!  Alas,  my  ear  is 
cut  off! 

CHRISTUS  (to  the  Disciples).  Leave  off!  No 
more  of  this!  (To  Malchus.)  Be  comforted,  for  you 
shall  be  healed !  (  Touches  the  ear  of  Malchus  f  then  turns 
to  Peter.)  As  for  you,  put  up  your  sword  into  its  sheath, 
for  all  who  lay  hold  on  the  sword,  by  the  sword  shall 
perish.  Shall  I  not  drink  from  the  cup  which  the 
Father  has  given  me?  or  think  you  not  that  if  I  prayed 
to  the  Father  he  would  not  send  to  my  help  many 
legions  of  angels?  Yet  how,  then,  would  the  Scrip- 
tures be  fulfilled?  (To  the  Pharisees.)  Am  I  a  thief 
that  you  come  to  take  me  with  swords  and  clubs? 
And  I  sat  with  you  daily  in  the  Temple  and  taught, 
yet  you  did  not  stretch  forth  your  hand  and  seize  me! 
But  this  is  your  hour!  Behold,  here  I  am! 

SELPHA.  Surround  Him,  and  bind  Him  fast,  so 
that  He  may  not  possibly  escape ! 

NATHAN.  You  will  be  answerable  to  the  High 
Council.  [The  Disciples  slip  away. 

SOLDIERS.  Ha!  He  shall  not  escape  from  our 
hands ! 

OBIRON  (to  the  Traders).  Now,  Brothers,  let  us 
satisfy  our  revenge! 

DATHAN.  Remember  what  He  did  to  us  in  the 
Temple ! 

JOSAPHAT  (to  the  Pharisees).  We  will  hasten  in 
advance  into  the  city.  The  Sanhedrin  anxiously  awaits 
our  arrival. 

[79] 


TRADERS.  But  we  will  not  for  an  instant  leave 
the  side  of  this  Scoundrel ! 

NATHAN.  First,  we  must  to  the  High  Priest, 
Annas.  Thither  lead  Him! 

SELPHA.    We  follow! 

JOSAPHAT  (to Judas).    Judas,  you  are  a  Man! 

SALOMON.    You  have  kept  your  word! 

JUDAS.  Indeed,  I  said  to  you  that  this  very  day 
you  would  have  Him. 

PTOLOMAUS.  The  entire  High  Council  have  you 
made  bounden  unto  you.  [Going. 

SOLDIERS  (urging  Christus  before  them).  Away 
with  you  to  Jerusalem!  There  will  the  sentence  upon 
you  be  spoken. 

SELPHA.    Let  us  hasten !    Watch  Him  carefully. 

SOLDIERS.  Ha!  run  now  as  in  the  land  of  Judaea 
you  were  wont  to  run! 

SELPHA.    Drive  Him  on.    Spare  Him  not! 

SOLDIERS.  On  with  you,  else  we  will  drive  you 
with  our  clubs. 

TRADERS.  Ha,  ha!  does  Beelzebub  then  no  longer 
aid  you?  [They  all  exit. 

END   OF   ACT 
END  OF  FIRST   DIVISION 

Usually  an  interval  of  an  hour  and  a  half  ensues. 
[80] 


SECOND   DIVISION 

From  the  Arrest  on  the  Mount  of  Olives  to  the 
Condemnation  hy  Pilate 

VIII.    REPRESENTATION 

Jesus  hefore  Annas 

Prologue 

Oh,  night  of  fear!    From  place  to  place, 
From  judgment  seat  to  judgment  seat, 

Abused  to  His  very  face, 
The  Saviour  with  contempt  they  treat! 

He  spake  to  Annas  but  a  word  — 

A  rough  hand  was  against  Him  raised! 

The  blow  received  nor  look  demurred  — 
The  hand  that  struck  besought  and  praised! 

Micaiah,  too,  was  treated  so, 
When  he  to  Ahab  truth  proclaimed; 

A  lying  prophet  struck  the  blow, 
With  jealous  wrath  inflamed. 

For  truth  most  often  genders  Hate, 

Yet  naught  may  break  its  constant  light; 

To  those  who  purely  contemplate, 
The  truth  will  flood  the  darkest  night! 

CHORUS.     Oh,  Sinners,  in  your  hearts  retain 
The  mern'ry  of  the  Saviour's  pain, 
Upon  Gethsemane  begun, 
And  suffered  by  the  Holy  One ! 

6  [81] 


For  you  He  suffered  in  despair! 

For  you  His  Passion  and  His  Care ! 

Upon  Him  rested  Sorrow's  crown, 

By  terror  torn,  with  head  bowed  down; 

The  sweat  of  anguish  through  Him  coursed, 

Like  blood,  from  Him  the  sweat  was  forced ! 

TABLEAU:   Micaiah,  the  Prophet,  receives  a  blow  in 

the  face  because  be  speaks  the  truth  of  King  Ahab. 

1  Kings  22 : 24.     An  allusion   to   the  first   trial  of 

Christus  by  Annas,  the  High  Priest,  where  the  Saviour 

suffers  a  blow  in  the  face. 

SOLO.    Whoso  the  truth  in  freedom  deals, 
The  sting  of  hate  he  later  feels ! 
Micaiah  dealt  in  truth,  and  lo! 
Upon  his  face  was  struck  a  blow. 
"Oh,  King!"  he  said,  "should  Ramoth  fight, 
He  will  overcome  thee  with  his  might. 

"  To  save  thyself  from  Baal's  seer  — 

Unto  false  prophets  lend  no  ear ! " 

'T  was  thus  Micaiah  spake  the  word  — 

No  flattery  by  Ahab  heard ! 

In  fury  on  him  rushed  a  liar, 

And  smote  him,  such  his  hate,  his  ire ! 

CHORUS.*    Thus  hypocrites  and  liars  too, 
Pluck  laurel  leaves  without  ado! 
'Tis  truth  alone  must  yield  its  pride, 
For  truth  no  flattery  can  bide! 

*  A  slight  deviation  from  Daisenberger  is  found. 
[82] 


ACT  VIII 

Christus  is  led  before  Annas,  and  is  struck  in  the  face. 

FIRST    SCENE 
Annas,  Esdras,  Sidrach,  Misael 

ANNAS.  I  can  find  no  rest  tonight  until  I  learn 
that  this  Disturber  of  our  peace  is  in  our  hands.  Oh, 
were  He  only  safe  in  chains !  Full  of  anxiety  I  await 
my  servant  with  the  welcome  news. 

ESDRAS.  They  cannot  tarry  much  longer,  for 
ample  time  has  passed  since  they  went  away. 

ANNAS.  In  vain  has  my  troubled  gaze  wandered 
up  and  down  the  street  of  Kidron.  Naught  could  I 
see  or  hear.  Go,  my  Esdras,  hasten  to  the  Gate  of 
Kidron  and  see  whether  they  do  not  approach. 

ESDRAS.    Thither  will  I  quickly  go!     [Exits. 

ANNAS.  It  would  indeed  serve  as  a  thunderclap 
upon  the  Sanhedrin  if  this  time  the  outcome  were 
unsuccessful. 

SIDRACH.    High  Priest,  leave  your  grieving! 
MISAEL.    There  is  truly  no  doubt  of  our  success. 

ANNAS.  They  have  perchance  changed  their  way 
and  are  returning  by  Siloa  Gate.  I  must  keep  an  eye 
on  that  place  also. 

SIDRACH.  If  the  High  Priest  so  wishes  it,  I  will 
to  the  Siloa  Gate  — 

[83] 


ANNAS.  Yes,  do  so!  Yet  see  first  whether  any- 
one comes  by  way  of  Sanhedrin  Street ! 

SIDRACH.    I  will  not  delay.    '[Exits. 

ANNAS.  The  night  advances,  and  still  no  certainty. 
Every  minute  of  this  anxious  delay  seems  more  than 
an  hour  to  me.  I  think  —  hark!  —  some  one  comes! 
Yes,  yes,  some  one  comes !  Surely  there  will  be  good 
news. 

SIDRACH  (hastening  in).  My  Lord,  yonder  Esdras 
comes  in  haste.  I  saw  him  running,  fleet  of  foot,  along 
the  street. 

ANNAS.  He  must  bring  gladsome  tidings,  since  he 
thus  makes  such  haste.  I  have,  indeed,  no  more  doubt 
as  to  the  death  of  this  Malefactor. 

ESDRAS  (rushing  in).  Hail  to  the  High  Priest! 
I  have  myself  seen  the  Fathers  chosen  to  go  with  Judas. 
Everything  has  occurred  in  accordance  with  your  de- 
sire. The  Galilean  is  in  fetters!  I  have  spoken  with 
them,  and  hurried  ahead  quickly,  so  as  to  bring  you 
instantly  the  joyful  news. 

ANNAS.  Heavenly  intelligence !  Blissful  hour !  A 
weight  is  lifted  from  my  heart,  and  I  feel  myself  born 
again.  For  the  first  time  indeed,  I,  with  pride  and  joy, 
call  myself  the  High  Priest  of  the  Chosen  People. 

SECOND   SCENE 

The  four  delegates  of  the  High  Council  appear  with  Judas 
on  the  balcony. 

THE  FOUR  PHARISEES.  Long  live  our  High 
Priest! 

[84] 


NATHAN.  The  wish  of  the  High  Counsel  is 
fulfilled! 

ANNAS.  Oh,  I  must  embrace  you  for  very  joy! 
So  then  our  planning  has  prospered.  Judas !  you  will 
receive  an  honourable  place  in  our  chronicles  of  the 
year.  Even  before  the  Feast,  shall  the  Galilean  die ! 

JUDAS  (terrified).    Die?  — Die? 
ANNAS.    His  death  is  determined  upon. 

JUDAS.  I  will  not  be  held  responsible  for  the  life 
and  blood  of  the  Master! 

ANNAS.  Nor  is  it  necessary.  He  is  now  in  our 
power! 

JUDAS.    I  did  not  deliver  Him  to  you  for  this! 

PTOLEMAUS.  You  have  done  your  part;  the 
rest  is  our  concern. 

JUDAS.  Woe  is  me!  What  have  I  done!  Shall 
He  die?  No,  no !  I  did  not  wish  that,  I  will  not  have 
it!  [Goes  away. 

THE  PHARISEES  (laughing).  Whether  you  will 
or  no,  He  still  shall  die ! 


THIRD   SCENE 

The  former,  without  Judas.  Directly  after,  Christus  is  ltd 
on,  followed  hy  the  leader  of  the  hand,  Selpha,  the 
Servants,  Balhus.  All  are  on  the  balcony.  The 
soldiers  remain  helow. 

ESDRAS.     High  Priest!     The  Prisoner  is  at  the 
threshold. 

[85] 


ANNAS.  Let  Selpha  with  the  necessary  guard 
bring  Him  up.  The  others  must  wait  for  Him  below. 
\Selpha  appears  <with  Christus. 

SELPHA.  High  Priest!  According  to  your  com- 
mand, the  Prisoner  stands  here  before  your  judgment 
bar. 

ANNAS.    Have  you  brought  only  Him  captive? 

BALBUS.  His  adherents  scattered  like  frightened 
sheep. 

SELPHA.  We  did  not  find  it  worth  the  trouble  to 
catch  them.  However,  Malchus  came  near  losing  his 
life. 

ANNAS.  How  so?  What  happened?  Speak 
quickly ! 

BALBUS.  A  Disciple  struck  at  him  with  a  drawn 
sword,  hitting  his  ear,  and  it  was  cut  off. 

ANNAS.    How?    But  it  has  left  no  mark. 

BALBUS  (mocking).  The  Miracle-worker,  through 
His  magic,  put  it  back  again. 

ANNAS.    What  say  you  to  this,  Malchus?    Speak. 

MALCHUS  (earnestly).  I  cannot  explain  it  —  a 
miracle  has  indeed  happened  to  me. 

ANNAS.  Has  the  Deceiver  forsooth  bewitched 
you  also?  (  To  Christus.  )  Say,  by  what  power  have 
you  done  this?  [Christus  remains  silent. 

SELPHA.  Answer,  when  your  Judge  questions 
you! 

ANNAS.  Speak!  Give  an  account  of  your  Dis- 
ciples, and  of  your  teaching  which  you  have  spread 

[86] 


through  all  Judaea,  and  by  which  you  have  misled  the 
people. 

CHRISTUS.  I  have  spoken  openly  before  the 
world.  I  have  always  taught  in  the  Temple  and  in  the 
Synagogue,  and  naught  have  I  said  secretly.  Why 
do  you  ask  me?  Question  those  who  have  heard  me. 
They  know  what  I  have  said. 

BALBUS  (striking  Christus).  Is  it  thus  you  answer 
the  High  Priest? 

CHRISTUS.  If  I  have  spoken  evil,  then  show  that 
it  is  evil!  But  if  I  have  spoken  truth,  why  do  you 
strike  me? 

ANNAS.  Do  you  even  thus  now  defy  us,  when  the 
very  power  of  life  and  death  is  in  our  hands?  Take 
Him  away !  I  am  weary  of  the  Impostor ! 

BALBUS  (to  Jesus,  as  He  is  led  away).  Just  wait! 
Your  pride  will  soon  falter ! 

ANNAS.  I  will  now  rest  me  for  a  while,  or  rather 
reflect  in  silence  as  to  how  this  fortunate  commence- 
ment may  be  brought  to  as  fortunate  an  end.  I  shall 
undoubtedly  be  called  to  the  Sanhedrin  very  early  in 
the  morning.  [They  exit. 

FOURTH    SCENE 

Christus  in  the  midst  of  the  Crowd 

CROWD.  Ha,  the  deuce,  is  His  business  already 
over? 

SELPHA  (who  leads  Jesus).  Yes,  His  vindication 
has  ended  badly. 

[87] 


B ALDUS.  Nevertheless,  it  brought  Him  a  sound 
slap  in  the  face. 

SELPHA.  Men,  take  Him  now,  and  let  us  hasten 
with  Him  to  the  palace  of  Caiaphas. 

CROWD.    Away  with  Him!    Hurry  up,  you! 

BALBUS.  Be  of  cheer !  From  Caiaphas  you  will  re- 
ceive a  much  better  reception. 

CROWD.  There,  no  doubt,  the  ravens  will  sing 
about  your  ears!  (Chrisius  is  led  through  ihe  streets.) 
You  will  become  a  laughing  stock,  an  example  for  the 
entire  nation ! 

BALBUS.  Hurry!  Your  Disciples  are  all  ready! 
They  would  proclaim  you  King  of  Israel ! 

SOME  SOLDIERS.  Is  it  not  true  that  you  have 
often  dreamed  of  this?  f 

SELPHA.  Caiaphas,  the  High  Priest,  will  now  ex- 
plain this  dream  to  you. 

BALBUS.  Do  you  hear  that?  Caiaphas  will  pro- 
claim your  exaltation  to  you. 

SOLDIERS  (with  laughter).  Yes,  in  truth  your 
elevation  between  heaven  and  earth ! 

SELPHA.  Listen,  you  fellows!  Yonder  through 
the  palace  of  Pilate  is  our  nearest  way  to  the  house 
of  Caiaphas.  There  place  yourselves  in  the  courtyard 
until  further  orders. 

SOLDIERS  (in  the  mob).  Your  commands  shall  be 
fully  obeyed!* 

*  The  other  German  version  omits  this  scene ;  Trench  gives  in 
Act  VII,  Sc.  5,  dialogue  between  Peter  and  John,  who  both  determine 
to  follow  Christus  to  Annas.  Daisenberger  omits  this  also. 

[88] 


FIFTH    SCENE 
Peter  and  John  before  the  House  of  Annas.    A  Priest 

PETER.  Alas!  How  has  it  befallen  our  Master! 
John,  I  am  so  anxious  about  Him! 

JOHN.  I  fear  to  approach  the  place,  for  undoubt- 
edly He  will  receive  ridicule  and  have  abuse  heaped 
upon  Him. 

PETER.    It  is  so  still  about  here. 

JOHN.  Inside  the  palace  not  even  a  human  voice 
can  be  heard.  Could  they  have  taken  Him  away 
again? 

ESDRAS  (stepping  out).  What  would  you  here  at 
this  time  of  night  before  the  palace? 

JOHN.  Forgive  us.  We  saw  a  crowd  of  people 
from  afar;  they  came  hither  through  the  Gate  of 
Kedron,  and  so  we  have  come  to  see  what  has 
happened. 

ESDRAS.  They  brought  a  Prisoner,  but  He  has 
already  been  sent  to  Caiaphas. 

JOHN.  To  Caiaphas?  Then  we  will  leave  im- 
mediately. 

ESDRAS.  'T  is  well,  for  otherwise  I  must  have  you 
taken  up  for  night  brawlers. 

PETER.  We  will  raise  no  disturbance  and  will  go 
away  silently.  [They  exit. 

ESDRAS  (.looking  after  them).  Perhaps  they  arc 
Disciples  of  the  Galilean.  If  I  but  knew!  Still,  they 

[89] 


are  not  against  our  people,  since  they  hasten  to  the 
palace  of  Caiaphas.  The  whole  band  must  be  de- 
stroyed, otherwise  the  people  will  never  be  brought 
to  obedience!  [Extt. 

END    OF   ACT 

IX.     REPRESENTATION 

Jesus  before  Caiaphas 

Prologue 

His  enemies  are  judges,  and  before  them  now  He 

stands, 
The  Lord  in  silence,  patiently,   behold,  with  folded 

hands! 
He  hears  the  words  condemning,  and  the  lies  on  every 

breath, 
While  the  rod  of  accusation  thrusts  Him  nearer  unto 

death! 

As  did  Naboth  in  his  goodness  meet  the  persecutor's 

rod, 
Heard  false  witnesses  proclaim  him  a  blasphemer  of 

his  God, 
So  the  Lord,  whose  fault  is  goodness,  finds  a  like  sad 

recompense 
For  His  truth  and  for  His  love  and  for   His   kind 

beneficence ! 

Soon,  before  you,  to  your  sorrow,  will  you  see  Him 

bent  and  bound  — 
While  the  servants  set  to  guard  Him,  His  dear  person 

will  surround. 

[90] 


Oh,  the  cries  of  sharp  derision,  and  the  blow  that 

cometh  after! 
Oh,  the  harsh  and  bitter  jeering,  and  the  wild,  inhuman 

laughter ! 

Thus  did  Job  bow  'neath  affliction  in  the  days  of  long 

ago, 
Laden  down  with  heavy  sorrow,  every  friend  become 

his  foe; 
He  foreshadowed  in  his  anguish  what  was  later  to  take 

place, 
And  in  him  proclaimed  the  likeness  of  the  Saviour's 

patient  face! 

CHORAGUS  (Redt.).    In  pity  bleeds  my  heart 
For  Him  who  stands  before  the  judgment  seat! 
He  bears  the  sinner's  part, 
Betrayed   and  scorned   and   dragged  from  street  to 

street. 

Oh,  men,  your  faces  hide ! 

The  Christ  is  touched  by  hands  that  desecrate! 
He  will  be  crucified! 
Behold  the  scene  which  shadows  forth  His  fate ! 

TABLEAU :  The  innocent  Naboth  is  condemned  to  death 
hy  false  witnesses.  1  Kings  21 :  8,  13.  As  Naboth 
was,  so  will  the  innocent  Saviour  be  condemned  to 
death  before  the  High  Priest,  Caiaphas,  through  false 
testimony.  As  on  patient  Job  all  imaginable  scorn  was 
heaped,  so  will  the  same  be  done  unto  the  Saviour* 

CHORUS.    "  Naboth,  O  King,  shall  die! 

He  dared  his  God  blaspheme,  and  thee  abuse. 
Let  him  effaced  be  from  Israel ! " 
Thus  was  proclaimed  the  lie  — 
Bribed  were  the  Jews 
By  the  wicked  Jezebel ! 
[91] 


SOLO.    Upon  the  innocent  revenge  they  take! 
Upon  the  innocent  their  thirst  they  slake  — 
Their  thirst  for  vengeance  in  unrighteous  cause! 
False  rogues  who  scorn  the  sacredness  of  laws ! 
Deceit  and  Hate  against  the  Christ  are  bent, 
While  Malice  seeks  to  crush  the  Innocent! 

CHORUS.    Lords  of  the  earth,  beware,  beware  — 
Of  worldly  rule  ye  have  your  share ! 
Forget  not,  in  your  regal  dower, 
A  higher  Judge,  a  greater  Power. 
The  rich,  the  poor,  the  peasant-bred, 
The  nobly  born,  the  underfed, 
Are  one  to  Him  who  rules  above 
In  justice  measured  by  His  love! 

TABLEAU :   The  suffering  Job  is  affronted  By  his  wife 
and  relatives.   Job  2 : 9. 

Ah,  what  a  man! 
A  Job  in  pain, 

In  ridicule,  in  mockery  to  judgment  ta'en, 
Thence  to  be  slain! 

Ah,  what  a  man! 

Beneath  the  burden  of  a  cross  He  bends, 
Scorned  by  His  friends, 
Yet  His  trust  in  God  never  ends  — 

Ah,  what  a  man! 

No  noise  of  grief, 

No  supplication  to  be  brief, 
Amidst  the  mockery  of  unbelief; 

Ah,  what  a  man! 
All  ye  whose  hearts  in  pity  break, 
Shed  tears  of  love  for  His  dear  sake ! 

Ah,  what  a  man! 
[92] 


ACT   IX 

Cbristus  is  taken  to  Caiaphas  f  before  whom  He  is  tried,  and 
upon  Him  the  sentence  of  death  is  imposed.  He  is  de- 
nied by  Peter,  and  is  scoffed  at  as  well  as  maltreated 
by  the  servants.  [Some  versions  begin  with  the  fol- 
lowing scene : 

CROWD.  Ha,  let  us  go  forward  merrily!  You 
must  move  on,  so  we  may  proclaim  you  King  of 
Israel! 

BALBUS.  Your  subjects  joyfully  await  you.  They 
have  ready  for  you  a  crown  and  a  sceptre. 

MELCHI.  You  have  often  dreamed  of  this,  have 
you  not? 

CROWD.    Now  it  shall  be  fulfilled. 

SELPHA.  We  will  take  Him  to  Caiaphas,  who 
shall  on  the  instant  interpret  this  dream  for  Him. 

BALBUS.  Do  you  hear?  Caiaphas  will  proclaim 
your  elevation! 

CROWD.  Yes,  yes,  your  elevation,  high  up  —  be- 
tween heaven  and  earth.  Ha,  ha,  ha ! 

SELPHA.  You  people,  mark  well !  Here  through 
these  streets  is  the  nearest  way  to  Caiaphas.  Stay 
you  in  the  outer  court  yonder,  while  I  go  before  the 
judge  with  this  Evil-doer  between  these  two  thieves. 

CROWD.  Good,  we  will  obey  you  in  all  things. 
[Other  versions  begin  with  — 

[93] 


FIRST    SCENE 
Caiaphas  in  his  Bedroom.     The  Priests  and  Pharisees 

CAIAPHAS.  Our  fortunate  beginning  portends 
the  happiest  realization  of  our  wishes.  I  thank  you, 
noble  members  of  the  Sanhedrin,  for  your  zealous 
and  wise  co-operation! 

JOSAPHAT.  Our  greatest  gratitude  is  due  the 
High  Priest. 

CAIAPHAS.  Now,  let  us  proceed  without  delay! 
All  is  ready.  The  Council  shall  immediately  be  as- 
sembled. Samuel  has  already  brought  hither  the 
necessary  witnesses.  The  trial  of  the  Prisoner  will 
be  taken  in  hand  without  delay.  Then  shall  judgment 
be  rendered,  and  careful  provision  made  for  its  exe- 
cution. The  quicker  we  are,  the  surer  our  success. 

NATHAN.  It  would  be  best  were  the  thing  done 
before  our  adversaries  have  given  much  thought  to 
the  matter. 

CAIAPHAS.  That  is  my  idea.  Trust  me,  my 
friends,  I  have  a  plan  which  I  hope  to  carry  out. 

SAD  OK.  The  wisdom  of  our  High  Priest  deserves 
our  fullest  trust! 

ALL.    The  God  of  our  Fathers  bless  his  steps! 

SECOND    SCENE 

The  foregoing.     The  Soldiers  bring  in  Christus.     The 
False  Witnesses 

SELPHA  (who  is  the  leader  of  the  guard).  Most 
exalted  High  Priest!  Here  is  the  Prisoner! 

[94] 


CAIAPHAS.  Bring  Him  nearer,  that  I  may  look 
Him  in  the  face  and  question  Him. 

SELPHA  (to  Christus).  Step  forward,  and  respect 
the  head  of  the  High  Council. 

CAIAPHAS.  So,  you  are  He  who  would  attack  our 
Synagogue,  and  would  bring  about  the  fall  of  the  Law 
of  Moses?  You  stand  accused  of  inciting  the  people 
to  disobedience,  of  scorning  the  sacred  traditions  of 
the  Fathers,  of  repeatedly  violating  the  divine  regula- 
tions of  the  Sabbath,  and  of  allowing  yourself  many 
times  to  utter  blasphemous  speeches  and  to  do  blas- 
phemous deeds.  Here  stand  some  trusty  men  who  are 
ready  to  vouch  for  the  truth  of  these  accusations  with 
their  evidence.  Listen  to  them,  —  that  you  may  an- 
swer them  if  you  can! 

FIRST  WITNESS  (Nun).  I  testify  before  God  that 
this  Man  has  incited  the  people,  openly  denouncing 
the  members  of  the  Council  and  the  Scribes  as  hypo- 
crites, as  hungry  wolves  in  sheep's  clothing,  as  blind 
leaders  of  the  blind,  and,  moreover,  has  proclaimed  that 
no  one  should  follow  their  decrees. 

SECOND  WITNESS  (Etiab).  I  also  agree  to  this, 
and,  furthermore,  can  add  that  He  has  warned  the 
people  not  to  pay  tribute  to  the  Emperor. 

FIRST  WITNESS  (Nun).  Such  ambiguous  speech 
have  I  also  heard  Him  utter ! 

CAIAPHAS  (to  Chrisius).  What  say  you  to  this? 
Are  you  silent?  —  Have  you  naught  to  say  in  return? 

THIRD  WITNESS  (Gad).  I  have  often  noted 
how  He,  with  His  Disciples,  in  defiance  of  the  Law, 

[95] 


has  gone  to  the  table  with  unwashed  hands ;  how  He 
has  had  friendly  intercourse  with  the  publicans  and 
sinners,  and  has  even  entered  their  houses  and  eaten 
with  them. 

THE  OTHER  WITNESSES.  We  have  also  seen 
this. 

THIRD  WITNESS  (Gad).  I  have  heard  from  trust- 
worthy sources  that  He  even  has  spoken  with  Samari- 
tans, and  has  dwelt  with  them  for  days  at  a  time. 

FIRST  WITNESS  (Nun).  I  also  have  been  witness 
to  what  He  has  done  on  the  Sabbath  without  fear  — 
though  forbidden  by  the  Law  of  God.  He  has  healed 
those  seized  with  sickness,  with  the  pest;  He  has 
urged  others  to  desecrate  the  Sabbath;  He  even 
ordered  a  man  to  carry  his  bed  to  his  house. 

SECOND  WITNESS  (Eliab).  I  have  seen  that 
too! 

CAIAPHAS  (to  Chrisius).  How  can  you  refute 
this?  Have  you  nothing  to  say? 

THIRD  WITNESS  (Gad  to  Ckrtstus).  You  have 
for  I  was  present,  taken  unto  yourself  the  power  to 
forgive  sins  —  a  power  belonging  only  to  God.  You 
have  thus  blasphemed  God! 

FIRST  WITNESS  (Nun).  You  have  called  God 
your  Father,  and  have  dared  to  name  yourself  as  one 
with  the  Father.  You  have  thus  made  yourself  equal 
to  God. 

SECOND  WITNESS  (Eliab).  You  have  raised 
yourself  above  our  Father  Abraham,  and  have  dared 
to  assert  that  you  were,  before  Abraham  was. 

[96] 


FOURTH  WITNESS  (Raphim).  You  have  said: 
"  I  can  destroy  the  Temple  of  God,  and  in  three  days 
build  it  up  again/' 

FIFTH  WITNESS  (Eliezer).  You  have  said:  "I 
will  destroy  this  Temple  built  by  the  hand  of  man,  and 
in  three  days  will  I  set  up  another  which  is  not  built 
by  the  hand  of  man." 

CAIAPHAS.  You  have  thus  boasted  of  a  super- 
human, divine  power!  These  are  hard  accusations; 
and  they  are  lawfully  attested.  Contradict  them  if 
you  can!  I  see,  you  believe  by  your  silence  you  will 
be  able  to  save  yourself!  You  dare  not  admit  before 
the  Fathers  of  the  people  and  before  your  Judge  what 
you  have  taught.  Or  do  you  dare?  Then  hear:  I,  the 
High  Priest,  adjure  you  by  the  living  God!  Tell  us, 
are  you  the  Messiah,  the  only  begotten  Son  of  God  — 
are  you  divine? 

CHRISTUS.  You  have  said  it,  and  it  is  so.  But 
I  say  unto  you :  From  now  on  it  will  come  to  pass  that 
the  Son  of  Man  shall  sit  upon  the  right  hand  of  God 
in  power  and  shall  come  out  of  the  clouds  of  Heaven. 

CAIAPHAS.  He  has  blasphemed  God!  What  need 
we  further  with  witnesses?  Behold,  you  yourselves 
have  heard  the  blasphemy!  What  think  you? 

ALL.    He  deserves  death! 

CAIAPHAS.  He  is  thus  declared  unanimously  to 
be  deserving  of  death.  Still,  neither  I  nor  the  High 
Council,  but  the  holy  Law  itself,  pronounces  the  sen- 
tence of  death  upon  Him.  You  teachers  of  the  Law! 
I  bid  you  give  me  answer!  What  says  the  holy  Law 
of  him  who  is  disobedient  to  the  ordained  authorities 
of  God? 

7  [97] 


JOSUE  (reads) .  "  Whosoever  is  presumptuous  and 
does  not  hearken  to  the  commandments  of  the  High 
Priest,  or  to  the  opinions  of  the  Judges,  shall  die,  and 
the  evil  be  uprooted  from  Israel."  (Deut*17:12.  Some 
of  the  German  versions  are  almost  literal  in  their 
transcription. ) 

CAIAPHAS.  What  does  the  Law  prescribe  for  him 
who  profanes  the  Sabbath? 

EZEKIEL  (reads).  "Keep  thou  my  Sabbath,  for 
it  is  holy!  Whoso  profanes  it  shall  be  put  to  death! 
Whoso  does  any  work  thereon,  that  soul  shall  be  cut 
aloof  from  the  people." 

CAIAPHAS.  What  punishment  does  the  Law  im- 
pose upon  the  blasphemer? 

NATHANAEL  (reads}.  "  Say  unto  the  children  of 
Israel:  He  who  blasphemes  his  God  shall  carry  his 
offence!  And  whoso  slanders  the  name  of  the  Lord 
shall  be  put  to  death.  The  whole  congregation  shall 
stone  him,  be  he  born  in  the  land  or  a  stranger.  Whoso 
blasphemes  the  name  of  the  Lord  shall  be  put  to 
death!" 

CAIAPHAS.  Accordingly  is  the  sentence  spoken 
over  this  Jesus  of  Nazareth,  in  conformity  with  law, 
and  it  shall  be  carried  out  as  soon  as  possible.  In  the 
mean  time  let  the  condemned  be  guarded.  Away  with 
Him,  watch  Him  well,  and  in  the  early  morning  bring 
Him  before  the  great  Sanhedrin! 

SELPHA.  Then  come,  you  Messiah!  We  will 
show  you  to  your  Palace! 

B  ALBUS.  There  will  you  receive  befitting  homage ! 
[  They  lead  Him  away. 

[98] 


THIRD    SCENE 

CAIAPHAS.  We  are  nearing  our  goal!  But  now, 
the  matter  demands  resolute  proceedings! 

ALL.  We  shall  not  rest  until  He  is  brought  to 
death! 

CAIAPHAS.  At  the  break  of  day  we  will  gather 
together  again.  Our  intention  must  be  secretly  an- 
nounced to  the  High  Priest,  Annas,  and  to  the  others. 
( Cries  of:  "It  shall  be  done  without  delay  1")  Then  shall 
the  judgment  be  confirmed  by  the  whole  Assembly, 
and  the  Prisoner  immediately  thereafter  led  before 
Pilate,  in  order  that  he  may  sanction  our  act  and  allow 
its  execution. 

ALL.  Grant  that  the  hour  will  soon  come  when  we 
are  rid  of  our  enemy !  God  hasten  the  hour!  [They 
all  depart. 

FOURTH    SCENE 

JUDAS  (atone).*  Fearful  presentiments  drive  me 
hither  and  thither!  Those  dreadful  words:  He  shall 
die!  Oh,  the  thought  pursues  me  everywhere!  It  is 
terrible !  No,  it  must  not  come  to  that !  They  cannot 
go  so  far !  It  would  be  horrible  if  they  —  my  Master  — 
No  —  and  I  —  I  —  guilty  of  it  all !  No !  Here  in  the 
house  of  Caiaphas,  I  shall  probably  find  how  it  goes 
with  Him.  Shall  I  enter?  I  can  no  longer  bear  this 
doubt,  and  yet  it  terrifies  me  to  know  the  truth !  My 
heart  is  breaking  with  anguish  —  still  the  truth  must 
be  some  time!  [Enters. 

*  The  several  texts  differ  in  wording  rather  than  in  spirit. 
[99] 


FIFTH    SCENE 

Hall.  Agar,  Sara.,  Melchi;  then  Panther,  Arphaxad, 
Abdias,  Levi;  later,  John,  Peter;  finally,  Christus,  led 
by  Selpha,  Malcbus,  and  Balbus 

AGAR  (to  Mekbi,  outside).    You  men,  come  in  here. 
SARA.    It  is  more  comfortable  inside ! 

MELCHI.  True,  good  children!  (Calls  out.)  What 
ho,  comrades,  come  in  here!  It  is  better  for  us  to  lie 
down  in  the  hall.  [  The  men-at-arms  enter. 

ARPHAXAD.  This  pleases  me!  Would,  though, 
we  had  come  in  sooner!  How  foolish!  We  always 
stand  outside  in  the  open  and  freeze.  But  where  is 
there  any  fire? 

PANTHER.  Go,  Sara,  fetch  us  fire,  and  wood  to 
lay  thereon. 

AGAR.     Surely! 

SARA.    That  shall  you  have !    [  They  both  go. 

SOLDIERS.    Will  the  trial  soon  come  to  an  end? 

MELCHI.  It  may  last  longer,  until  all  the  witnesses 
are  heard! 

PANTHER.  And  the  Accused  will  no  doubt  resort 
to  a  flow  of  rhetoric  so  as  to  free  Himself. 

ARPHAXAD.  Still,  that  would  be  of  no  help  to 
Him;  He  has  offended  the  priesthood  too  deeply. 
{Agar  and  Sara  re-enter. 

AGAR.    Here  is  fire  for  you. 
SARA.    And  wood  and  tongs. 

[100] 


SOLDIERS.    Thank  you,  girls! 

PANTHER.  Ah,  that  is  good!  Now  let  us  see  to 
it  that  the  fire  does  not  go  out !  [Some  sit  around  the 
fire,  while  others  stand  in  groups.  Sara  brings  them 
bread  and  drink. 

AGAR  ( to  Johnf  who  appears  on  the  threshold) .  John, 
do  you  come  hither  also  in  the  middle  of  the  night? 
Enter !  Here  you  may  warm  yourself  at  the  fire !  Is  it 
not  so,  you  men,  that  you  would  not  grudge  a  place  for 
this  young  man? 

SOLDIERS.    To  be  sure!    Come  on! 

JOHN.  Good  Agar!  There  is  also  with  me  a  trav- 
elling companion.  May  he  not  be  allowed  to  enter  too? 

AGAR.  Where  is  he?  Let  him  come  in  also !  Why 
does  he  stand  outside  in  the  cold?  (John  steps  aside,  but 
returns  alone.)  Well,  where  is  he? 

JOHN.  He  waits  on  the  threshold;  but  he  does 
not  trust  himself  inside. 

AGAR.    Come  hither,  good  Friend,  have  no  fear! 

SOLDIERS.  Yea,  Comrade,  come  amongst  us  and 
warm  yourself!  [Peter  timidly  draws  nigh  to  the  fire. 

ARPHAXAD.  Still  do  we  see  naught  and  hear 
naught  of  the  Prisoner. 

ALL.    How  long  must  we  wait? 

PANTHER.  Probably  He  will  return  from  His 
trial  —  a  man  doomed  to  death. 

ARPHAXAD.  I  am  curious  to  know  whether  His 
Disciples  will  not  also  be  sought  after. 

[101] 


SOLDIERS.  That  were  indeed  a  pretty  piece  of 
work,  if  we  had  to  capture  all ! 

PANTHER.  It  would  not  be  worth  the  trouble. 
Once  the  Master  is  safely  away,  then  will  these  Gali- 
leans take  flight,  and  they  will  never  again  show  them- 
selves in  Jerusalem. 

ARPHAXAD.  At  all  events,  one  of  them  shall  re- 
ceive severe  punishment  —  he  who  in  the  Garden  took 
a  weapon  and  cut  off  the  ear  of  Malchus. 

SOLDIERS.*  Yes,  it  should  be  as  ordained:  An  ear 
for  an  ear,  ha,  ha,  ha!  [Peter,  restless,  goes  away  from 
the  fire. 

PANTHER.  A  good  idea!  But  the  application  is 
of  no  value  here.  Malchus'  ear  is  whole  again. 

AGAR  (to  Peter)-  I  have  been  looking  at  you  for 
some  time.  If  I  mistake  not,  you  are  one  of  the  Dis- 
ciples of  the  Man  from  Galilee.  Yes,  yes,  you  were 
with  Jesus  of  Nazareth. 

PETER.  No,  woman,  I  was  not.  I  do  not  know 
Him,  neither  do  I  by  any  chance  understand  what  you 
say.  [He  draws  back,  and  comes  near  Sara. 

SARA.  Look,  this  one  was  also  with  Jesus  of 
Nazareth. 

SEVERAL.    Perhaps  you  are  one  of  His  Disciples? 
LEVI.    Yes,  you  are  one  I 

PETER.  I  am  not,  on  my  soul !  I  know  naught  of 
them.  [The  cock  crows. 

*  "  Rotte"  is  used  in  the  sense  of  a  mixed  crowd. 

[102] 


ABDIAS  (to  the  others  in  his  circle).  Look  at  yon- 
der man.  Truly,  he  was  also  with  Him! 

PETER.  I  know  not  what  you  would  with  me. 
What  does  He  mean  to  me? 

SEVERAL.  Yes,  yes,  you  are  one  of  them ;  indeed, 
you  are  a  Galilean.  Your  speech  betrays  you. 

PETER.  God  be  my  witness  that  I  do  not  know  the 
Man  of  whom  you  speak.  [The  cock  crows  a  second 
time. 

MELCHI.  What !  Did  I  not  see  you  with  Him  in 
the  Garden,  when  my  cousin  Malchus  had  his  ear  cut 
off? 

SOLDIERS  (standing  by  the  fire).  Ha!  See!  They 
bring  in  the  Prisoner !  [Selpha  enters  <with  Christus. 

PANTHER  (to  them  as  they  advance).  How  has  it 
gone? 

SELPHA.    He  is  condemned  to  death. 

SOLDIERS  (jeering).  Oh,  poor  King!  \Christus 
looks  upon  Peter  sorrowfully. 

SELPHA.  Forward,  Comrades !  Until  the  dawn  of 
to-morrow  we  must  keep  watch  over  Him. 

SOLDIER.  Come,  He  shall  help  us  pass  the  time 
away! 

SIXTH   SCENE 
In  the  Proscenium.    Peter  and  afterwards  John 

PETER.  Alas,  my  Master!  Oh,  how  far  have  I 
fallen !  Oh,  woe  is  me,  a  weak  and  wretched  man !  My 

[103] 


dear  Friend  and  Protector,  I  have  denied  you  thrice! 
I  do  not  understand  how  I  could  have  so  far  forgotten 
myself!  A  curse  upon  my  faithlessness!  My  best 
Master!  Have  you  still  grace  for  me?  My  heart  will 
repent  of  this  contemptible  cowardice!  Oh,  Lord,  if 
you  feel  mercy  toward  me  —  a  perfidious  one  —  then 
show  it  me  now!  This  once,  hear  the  voice  of  a  con- 
trite soul !  Oh,  my  sin  is  done !  I  cannot  undo  it !  But 
ever  and  ever  more  will  I  regret  it  and  expiate  it. 
Never  again  shall  I  leave  you,  O  most  kind  I 
At  least,  you  will  not  reject  me;  you  will  not  scorn 
my  bitter  remorse!  No,  the  kind,  compassionate  look 
which  you  cast  upon  your  deeply  fallen  Disciple  bids 
me  hope :  you  will  forgive  me !  Dearest  Teacher,  this 
comfort  I  have  from  you,  and  the  whole  love  of  my 
heart  from  this  moment  I  dedicate  to  you.  I  shall 
fast,  I  shall  cling  to  you  —  ah,  naught  shall  ever  again 
have  the  power  to  take  me  from  you !  [  Exits. 

JOHN  (coming  from  the  other  side).  Where  can  Peter 
have  gone?  In  vain  I  searched  for  him  in  the  crowd. 
Surely  naught  of  ill  could  have  befallen  him.  Perhaps 
I  might  yet  meet  him  on  the  way.  I  will  now  go 
toward  Bethany.  But  ah,  dearest  Mother,  how  will 
your  heart  feel,  when  I  tell  you  of  the  terrible  scenes 
—  the  Innocent  wronged  and  by  the  miscreant  con- 
demned! What  will  your  soul  go  through!  Judas, 
Judas,  what  a  frightful  deed  is  thine!  [Exits. 

SEVENTH    SCENE 

Christus,  surrounded  by  servants  and  guards,  is  seated  on 

a  stool. 

LEVI.  Is  not  this  too  poor  a  throne  for  you,  great 
King? 

[104] 


PANTHER.    Hail,  new-born  Ruler! 

MELCHI.  But  sit  steadier,  otherwise  you  might 
fall  off.  [Pressing  Christus  down. 

LEVI.  Truly  you  are  a  Prophet,  so  they  say.  We 
would  test  your  craft. 

MELCHI  (striking  Him  in  the  face).  So  tell  us, 
great  Elias,  who  has  struck  you? 

ABDIAS  (striking  Him).    Was  it  I? 

MELCHI.  Do  you  not  hear?  (Shaking  Christus.)  I 
almost  believe  you  are  asleep.  He  is  deaf  and  dumb  — 
a  pretty  Prophet!  [Strikes  Him  from  the,  stool,  so  that 
He,  falls  at  full  kngth. 

LEVI.  Oh,  woe,  woe,  our  King  has  been  upset 
from  His  throne! 

ABDIAS.  Oh,  woe,  woe,  what  is  now  to  be  done? 
We  have  no  more  King ! 

MELCHI.  You  are  surely  to  be  pitied  —  so  great 
a  Magician  and  now  so  powerless  and  weak ! 

PANTHER.    What  is  now  to  be  done  with  Him? 
ALL.    We  will  help  Him  again  to  His  throne. 

PANTHER  (lifting  Christus).  Raise  yourself,  O 
mighty  King,  and  receive  anew  our  homage! 

MESSENGER  (Dan,  one  of  Caiaphas's  men,  entering) . 
Now,  how  goes  it  with  the  new  King? 

ALL.  He  neither  speaks  nor  makes  a  sign.  We 
can  do  nothing  with  Him. 

DAN.  The  High  Priest  and  Pilate  will  soon  make 
Him  speak.  Caiaphas  has  sent  me  to  fetch  Him. 

[105] 


SELPHA.    Up,  comrades! 

LEVI   (taking   Chrtstus    by    the    ropes).     Stand  up, 
you!    You  have  been  King  long  enough. 

ALL.    Away  with  you!     Your  kingdom  has  come 
to  an  end!    [All  exit. 

END   OF  ACT 


X.    REPRESENTATION 

The  Despair  of  Judas 

Prologue 

Why  wanders  Judas  in  the  tortures  of  despair? 

Alas,  an  evil  conscience  on  him  turns! 
The  blood-guilt  in  his  soul  he  has  to  bear, 

While  the  awful  flame  of  sin  within  him  burns. 

Weep,  Judas,  for  the  deed  that  thou  hast  done! 

Oh,  let  repentant  tears  blot  out  thy  sin! 
Implore  for  mercy  from  the  Holy  One ! 

Salvation's  door  is  open.    Go  thou  in ! 

Alas,  alas,  in  woe  though  deeply  bowed, 
No  ray  of  hope  doth  over  Judas  shine ! 

"  Too  great  my  sin,"  the  sinner  cries  aloud, 
As  Cain  once  cried,  "  too  great  this  sin  of  mine ! 

Impenitent  and  unconsoled  like  Cain, 
A  mighty  fear  o'er  hapless  Judas  falls ; 

The  just  reward  of  sin  is  racking  pain, 
Toward  such  a  fate  we  hasten  when  it  calls! 

[106] 


SOLO.    "  Oh,  woe  to  the  man  who  betrays  me," 
Cried  the  Lord,  "  to  the  traitor  who  slays  me ! 
'T  were  better  for  him  he  had  never  been  born 
Than  wander  in  terror  and  tremble  'neath  scorn ! " 
Such  words  follow  Judas  in  tortuous  pain, 
Pursuing  his  footsteps,  beclouding  his  brain. 

CHORUS.     Vengeance  falls  on  Judas'  head, 
He  shall  not  go  unpunished! 
By  frenzy  torn,  by  conscience  cowed, 
By  furies  scourged,  in  madness  bowed  — 
He  wanders,  and  his  peace  is  o'er ; 
He  knows  no  rest  forever  more, 
Until  despair  his  being  rends  — 
Until  his  worthless  life  he  ends! 

TABLEAU:  The  brother-murderer,  Cain,  tortured  with 
remorse,  wanders  a  fugitive  on  the  face  of  the  earth. 
Genesis  4  : 10-17 .  Abel  is  the  symbol  of  the  dying 
Messiah.  Abel,  the  upright,  cwas  hated  by  his  brother, 
Cain,  even  as  Christus  was  despised  by  His  brothers, 
the  Jews.  Even  as  Cain  became  a  fugitive,  so  the 
Jewish  Nation  shall  be  expelled  from  its  kingdom, 
and  dispersed  over  the  whole  earth. 

SOLO.    'Twas  thus  that  Cain,  ah,  whither  sped! 
To  drown  his  thoughts,  ah,  whither  fled! 
You  cannot  from  your  conscience  hide  — 
The  shadow  trembles  at  your  side ; 
And  though  you  hasten  here  and  there, 
The  pains  of  Hell  you  have  to  bear! 
The  scourge  will  fall,  the  wound  will  bleed, 
You  cannot  now  escape  the  deed! 
Ah,  Judas! 

[107] 


CHORUS.     Behold,  this  picture  you  shall  see, 
It  will  the  sinner's  mirror  be ! 
Though  vengeance  cometh  not  to-day, 
It  yet  will  come,  and  so  repay 
In  double-fold  upon  the  morrow  — 
Full  vengeance  on  the  Man  of  Sorrow! 


ACT  X 

The  assembled  High  Council  confirms  the  deaih  sentence 
pronounced  upon  Christus.  Judas  appears  in  remorse 
before  ihe  Assembly,  throws  docwn  ihe  thirty  pieces 
of  silver,  departs  in  anguish,  and  hangs  himself. 

FIRST    SCENE 

JUDAS  (alone).  My  anxious  foreboding  has  be- 
come a  horrible  certainty!  Caiaphas  has  condemned 
the  Master  to  death,  and  the  Council  has  sanctioned 
his  judgment.  It  is  all  over  —  no  more  hope  of  rescue ! 
Had  the  Master  wished  to  save  Himself,  He  would 
have  made  them  feel  the  force  of  His  power  a  second 
time  in  the  Garden  of  Gethsemane.  As  He  did  not  do 
it  then,  He  will  not  do  it  now.  What  am  I  able  to  do 
for  Him,  —  I,  the  most  wretched,  who  have  delivered 
Him  into  their  hands?  They  shall  have  the  blood- 
money  back  —  and  in  return  they  must  set  my  Master 
free!  I  will  go  instantly  and  let  them  know  my  de- 
mand. Yet  —  will  He  be  saved  thereby?  Oh,  vain, 
empty  hope!  They  will  ridicule  me,  I  know  it!  Ac- 
cursed Synagogue!  You  tempted  me  through  your 
agents,  you  deceived  me,  and  concealed  from  me  your 
bloody  purposes  —  until  you  had  Him  in  your  clutches ! 
Unjust  judges  that  you  are,  I  will  heap  upon  you  my 

[108] 


bitter  reproaches.  I  will  know  naught  of  your  devilish 
design.  No  part  will  I  have  in  the  blood  of  this  inno- 
cent One!  Oh,  the  anguish  of  Hell  racks  my  innocent 
being!  [Exits* 

SECOND    SCENE 
The  High  Council 

CAIAPHAS.  Assembled  Brethren,  I  thought  we 
could  not  wait  until  morning  to  send  the  Enemy  of  the 
Synagogue  to  His  death. 

ANNAS.  I  also  could  find  no  moment's  rest,  so 
eager  was  I  to  hear  the  sentence  of  death  pronounced. 

ALL.     It  is  decided.    He  must,  He  shall  die ! 

CAIAPHAS.  Last  night  I  did  not  think  it  neces- 
sary to  have  all  the  members  of  the  Sanhedrin  come 
hither.  There  was  the  required  number  of  judges  to 
pass  sentence  in  conformity  with  the  regulation  of  the 
law.  The  Accused  was  unanimously  declared  worthy 
of  death,  for  all  present  heard  with  their  own  ears 
how  this  Man  slandered  God  in  the  most  horrible 
manner,  daring  to  set  Himself  up  as  the  Son  of  God ! 

PRIESTS  AND  PHARISEES  (who  were  present 
at  the  former  gathering).  Yes,  we  were  witness  to 
what  was  said.  We  indeed  heard  the  blasphemy 
against  God  from  His  own  mouth. 

CAIAPHAS.  Once  more  will  I  have  the  Criminal 
brought  before  you,  that  you  yourselves  may  be  con- 
vinced of  His  being  worthy  of  death.  Then  the  whole 
Council  assembled  may  pass  judgment  upon  Him! 

[109] 


THIRD    SCENE 

JUDAS  (rushing  in).  Is  it  true?  Have  you  con- 
demned my  Master  to  death? 

RABBI.  Why  come  you,  unbidden,  into  the  As- 
sembly? Get  out!  We  will  call  you  if  we  need  you. 

JUDAS.    I  must  know.    Have  you  sentenced  Him? 
ALL.    He  must  die! 

JUDAS.  Woe,  woe,  I  have  sinned!  I  have  be- 
trayed the  Righteous!  Oh,  and  you,  you  bloodthirsty 
judges,  you  condemn  and  murder  the  Innocent! 

ALL.    Judas,  peace!   or  — 

JUDAS.  No  longer  any  peace  for  me!  And  none 
for  you!  The  blood  of  the  Innocent  cries  aloud  for 
vengeance ! 

CAIAPHAS.  What  troubles  your  soul?  Speak, 
but  speak  with  reverence,  for  you  stand  before  the 
High  Council. 

JUDAS.  You  would  deliver  this  One  up  to  death, 
Him  who  is  guiltless  of  every  fault?  You  dare  not  do 
it ;  I  protest  against  it !  You  have  made  me  a  traitor. 
Your  accursed  pieces  of  silver  — 

ANNAS.  You  yourself  offered  to  do  it,  and  con- 
cluded the  bargain. 

JOSAPHAT.  Bethink  you,  Judas!  You  have  ob- 
tained what  you  most  desired.  And  if  you  bear  your- 
self properly,  you  may  still  — 

JUDAS.  I  will  have  no  more  of  it!  I  cut  loose 
from  your  infamous  bargain!  Give  me  back  the 
Innocent ! 

[no] 


ALL.    Clear  out,  you  mad  one! 

JUDAS.  I  demand  the  Innocent  back!  My  hands 
shall  be  clear  of  blood. 

RABBI.  What,  you  infamous  traitor!  Will  you 
forsooth  dictate  laws  to  the  High  Council?  Know, 
your  Master  must  die,  and  it  is  you  who  have  deliv- 
ered Him  up  to  death! 

ALL.    He  must  die! 

JUDAS  (with  wild  and  frightened  took).  Die?  I 
am  a  traitor?  He  must  die?  I  have  delivered  Him 
over  to  die  ?  ( Breaking  forth. )  Then  may  ten  thou- 
sand devils  from  Hell  rend  me  to  pieces  —  crush  me! 
Here,  you  bloodhounds,  take  back  your  accursed  blood- 
money  !  [  Throws  down  the  bag  of  silver. 

CAIAPHAS.  Why  did  you  allow  yourself  to  be 
made  use  of  in  a  transaction  which  you  had  not  before- 
hand well  weighed? 

ALL.    That  was  your  lookout! 

JUDAS.  Thus  shall  my  soul  be  damned,  my  body 
rent  asunder,  and  you  — 

ALL.    Silence  —  and  away  from  here ! 

JUDAS.  You  shall  sink  with  me  to  the  lowest 
Hell!  [Rushes  out. 

FOURTH    SCENE 

CAIAPHAS  (after  a  pause).    A  fearful  man! 
ANNAS.    I  suspected  something  of  the  kind. 

ALL.    It  is  his  fault. 

[in] 


CAIAPHAS.  He  has  betrayed  his  Friend,  we  have 
condemned  our  Enemy.  I  remain  steadfast  in  my  re- 
solve, and  if  there  be  any  one  here  who  is  of  another 
opinion,  let  him  come  forward. 

ALL.  No!  What  has  been  determined  on  shall  be 
carried  out! 

CAIAPHAS.  What  shall  we  do  with  this  silver? 
As  blood-money,  we  dare  not  lay  it  back  in  the  sacred 
coffers. 

ANNAS.  If  it  is  agreeable  to  the  will  of  the  High 
Council,  it  might  be  put  to  some  useful  end. 

SARAS.  True!  A  burial  place  for  strangers  is 
needed.  With  this  a  field  might  be  purchased  for  such 
a  purpose. 

ALL.    We  agree  with  you! 
CAIAPHAS.    Is  such  a  field  to  be  had? 

SARAS.  A  potter  in  the  city  has  for  sale  a  piece  of 
ground  at  just  this  price.  [Pointing  io  the  bag. 

CAIAPHAS.  Then  close  the  bargain.  Now,  let  us 
delay  no  longer  in  passing  final  sentence  on  the 
Prisoner. 

RABBI.  I  will  immediately  have  Him  brought  in. 
[Erte. 

ANNAS.  I  will  now  see  whether  the  obstinacy 
which  He  showed  toward  me  has  not  somewhat 
abated.  A  real  satisfaction  will  it  be  for  me  to  hear 
the  death  sentence:  He  dies! 

[112] 


FIFTH   SCENE 
Christus  before  the  High  Council 

SELPHA  (leading  Christus  in).  Show  better  re- 
spect to  the  High  Council  than  you  did  before !  Ven- 
erable Fathers,  here  we  bring  the  Prisoner,  as  we  were 
ordered. 

CAIAPHAS.    Lead  Him  forward  into  our  midst. 
BALBUS.    Step  forth.     [Pushes  the  Prisoner. 

CAIAPHAS.  Jesus  of  Nazareth,  do  you  still  hold 
to  the  words  you  spake  before  your  judges  during  the 
night  ? 

ANNAS.    If  you  be  the  Anointed  One,  tell  us  so? 

CHRISTUS.  If  I  tell  you,  still  will  you  not  believe 
me,  and  if  I  ask  you,  you  will  neither  give  answer  nor 
set  me  free.  But  henceforward  the  Son  of  Man  shall 
sit  on  the  right  hand  of  Almighty  God. 

ALL.    You  are  then  the  Son  of  God? 
CHRISTUS.     You  say  it,  and  so  I  am. 

ANNAS.  That  is  enough !  Why  do  we  need  further 
witnesses? 

PRIESTS  AND  PHARISEES  (who  had  attended 
the  night  session).  Now  we  have  heard  it  again  from 
His  own  mouth. 

CAIAPHAS.    Fathers  of  the  People  of  Israel!    It 
now  rests  with  you  to  pronounce  the  final  legal  verdict 
as  to  the  guilt  and  punishment  of  this  man. 
8 


ALL.  He  is  guilty  of  blaspheming  God!  He  de- 
serves death! 

CAIAPHAS.  Therefore  we  will  lead  Him  before 
the  judgment  seat  of  Pilate. 

ALL.    Yes,  away  with  Him !    Let  Him  die ! 

CAIAPHAS.  But  Pilate  must  be  prepared  before- 
hand, so  that  he  may  issue  the  verdict  before  the  Feast. 

RABBI.  Should  not  some  one  from  amongst  us  go 
before  in  order  to  sue  for  speedy  audience? 

CAIAPHAS.  You  yourself,  Rabbi,  together  with 
Dariabas  and  Rabinth,  —  you  go  ahead,  and  we  will 
immediately  follow.  (  The  three  exit. )  This  day  shall 
rescue  the  religion  of  our  Fathers,  and  exalt  the  honour 
of  the  Synagogue  so  that  the  echo  of  our  glory  will 
be  transmitted  to  later  generations. 

ALL.    Men  will  speak  of  us  for  centuries  to  come! 
CAIAPHAS.    Now  lead  Him  away!    We  follow! 
ALL.    Death  to  the  Galilean!     [Extt. 

SIXTH    SCENE 

Proscenium 

The  three  Ambassadors  of  the  High  Council  before  the 
House  of  Pilate 

RABBI.  Now  we  may  breathe  again  more  freely. 
We  have  been  insulted  quite  enough! 

DARIABAS.  It  is  indeed  high  time  for  the  Syna- 
gogue to  put  an  end  to  it.  His  following  was  very 
large. 


RABBI.  Now  there  need  be  no  further  fear  of  Him 
or  His  followers.  The  Traders  have,  these  past  days, 
displayed  the  most  commendable  activity;  they  have 
won  over  a  crowd  of  most  resolute  folk.  You  shall 
see :  if  it  amounts  to  anything,  these  will  set  the  tone 
for  the  others.  The  waverers  will  accord  with  them, 
while  the  followers  of  the  Nazarene  will  find  it  to  their 
advantage  to  be  silent,  yea,  even  to  recant. 

RABINTH.  How  shall  we  bring  our  suit  before 
Pilate?  We  dare  not  enter  the  house  of  the  Gentile 
to-day,  else  we  shall  become  unclean  for  the  Passover. 

RABBI.  We  will  send  our  petition  through  one  of 
his  people.  I  am  known  in  the  house;  let  me  knock 
at  the  gate.  ( Does  so. )  Certainly  some  one  is  within. 
Yes,  some  one  is  coming. 

QUINTUS  (opens}.  Welcome,  Rabbi!    Just  step  in! 

RABBI.  We  are  not  allowed  to  do  so  to-day  be- 
cause of  our  Law. 

QUINTUS.  Indeed?  Can  I,  perchance,  do  the 
errand  for  you? 

RABBI.  We  are  sent  hither  by  the  High  Priest  to 
lay  a  petition  before  the  noble  representative  of  Caesar, 
requesting  that  he  receive  the  High  Council,  who  will 
bring  before  him  a  criminal  for  the  confirmation  of  the 
death  sentence. 

QUINTUS.  I  will  immediately  notify  my  Lord.  In 
the  mean  time  wait  here.  [Exits. 

RABINTH.  It  is  disgraceful  that  we  must  knock 
at  the  door  of  a  Gentile  in  order  to  have  the  sentence 
of  the  holy  Law  ratified. 

RABBI.    Be  of  good  courage!    When  once  yonder 


Enemy  is  removed  from  our  path,  then,  who  knows 
whether  we  may  not  also  very  soon  free  ourselves  from 
this  stranger? 

RABINTH.  Oh,  may  I  yet  live  to  see  the  day 
which  will  bring  freedom  to  the  Children  of  Israel! 

QUINTUS  (returning).  The  Governor  greets  you! 
Will  you  inform  the  High  Priest  that  Pilate  is  ready 
to  receive  the  petition  of  the  Sanhedrin? 

RABBI.  Our  thanks  for  your  kindness!  Now  let 
us  hasten  to  inform  the  High  Priest  of  the  outcome  of 
our  visit. 

RABINTH.  Will  Pilate  agree  to  the  demand  of  the 
Sanhedrin? 

RABBI.  He  must.  How  can  he  oppose  it  when 
the  Sanhedrin  and  the  people  unanimously  clamour 
for  the  death  of  this  man? 

DARIABAS.  What  does  the  life  of  one  Galilean 
mean  to  the  Governor?  Were  it  only  to  please  the 
High  Priest,  who  is  worth  much  to  him,  he  would  not 
hesitate  to  approve  of  the  execution.  [The  three  exit. 


SEVENTH    SCENE 
The  End  of  Judas.     Woodland 

JUDAS.  Where  shall  I  go  to  hide  my  shame,  to 
escape  the  torture  of  my  conscience?  No  dark  forest 
is  deep  enough  quite,  no  cavern  black  enough.  O 
Earth,  open  up  and  devour  me !  I  can  no  longer  exist. 
Alas,  my  Master,  the  best  of  all  men,  —  I  have  sold 
you,  given  you  up  to  every  abuse,  to  the  martyr's 
painful  death!  I,  the  abominable  traitor!  Oh,  where 

[116] 


exists  a  man  on  whom  such  blood-guilt  rests!  Alas, 
nevermore  shall  I  be  able  to  appear  before  the  Dis- 
ciples as  a  brother!  An  outcast,  everywhere  hated, 
everywhere  abominated;  even  by  those  who  led  me 
astray,  branded  as  a  traitor,  alone  I  wander  here  and 
there,  with  this  burning  fire  in  my  soul.  Ah,  could  I 
but  once  more  gaze  upon  His  countenance  —  I  would 
cling  fast  to  Him,  the  only  anchor!  But  He  lies  in 
prison,  and  is  perhaps  already  slain  through  the  mad- 
ness of  His  enemy.  Alas,  by  my  fault,  my  fault !  I  — 
I  am  the  infamous  being  who  sent  Him  to  prison  and 
have  brought  Him  to  death!  Woe  is  me  —  the  out- 
cast! For  me  there  is  no  hope,  no  more  deliverance. 
My  crime  is  too  great;  through  no  atonement  can  it 
be  expiated.  He  is  dead !  and  I  —  I  am  His  murderer ! 
Unhappy  hour  when  my  mother  brought  me  into  the 
world!  Must  I  drag  on  for  much  longer  this  mar- 
tyr's life,  and  bear  these  torments  —  fleeing  from  men 
as  one  who  is  tainted  —  shunned  and  despised  by  all 
the  world?  No,  never  will  I  suffer  this!  Not  a  step 
further  shall  I  go!  Here,  accursed  life,  will  I  put  an 
end  to  thee.  On  this  branch  let  hang  the  accursed 
fruit!  (Tearing  off  his  belt.)  Ha,  come,  thou  serpent, 
grip  me,  strangle  the  traitor!  [Makes  all  preparations  to 
hang  himself,  as  the  curtain  falls. 

END   OF    ACT 


XL    REPRESENTATION 

Christtts  before  Pilate 
Prologue 

"  Death  to  the  foe  of  Moses!  "    The  cry  is  heard, 
Echoed  by  many  voices.    "  Death  "  is  the  word ! 

["7] 


For  the  blood  of  the  guiltless  they  thirst, 
With  a  wild  desire  accurst! 

Impatiently  for  the  sentence  they  cry: 
"  Pilate,  heed  us,  for  He  must  die,  must  die !  " 
Before  the  judge  their  grievances  they  bring 
In  eloquence;  accusation  on  accusation  fling! 

A  thousand-voiced  sound  'gainst  Daniel  rose, 

"  Great  Baal  hath  he  destroyed  —  a  thousand  woes ! 

Away  with  him,  unto  the  lions'  den ! 

Let  him  be  food  for  beasts  —  accurst  of  men !  " 

Ah,  when  deceit  hath  entered  in  the  heart, 
Man  of  himself  destroys  the  better  part. 
Injustice  lurks  a  virtue  in  his  eyes, 
While  sin  disports  as  truth  in  dark  disguise ! 

CHORAGUS  (Redi.).    "  God  hath  He  blasphemed  in 

blindness, 

So  no  other  witness  need  we! 
Condemned  He  is  by  holy  Law, 

His  crucifixion  speed  we !  " 
The  priest-band  thus  His  death  demanded, 

And  then  away  to  Pilate  came  they. 
What  accusations  do  they  utter? 
Hark,  what  legal  judgment  claim  they? 

TABLEAU:  The  Governor  of  ihe  Province  impeaches 
Daniel  before  King  Darius,  and  urges  that  he  be  thrown 
into  the  lions'  den.  Dan.  6  :  4,  13.  Even  as  Daniel 
was  accused  without  foundation,  so  in  the  same  way 
the  High  Priest  brought  forward  before  Pilate  the  most 
preposterous  accusations  against  Jesus  and  demanded 
His  death  on  the  cross. 

[118] 


CHORUS.    Behold  this  picture,  every  one. 
Falsely  accused  was  God's  own  Son, 
As  Daniel  once  in  Babylon. 
"  Let  us,  O  King,  our  grievance  tell ! 
The  foe  of  God  is  Daniel  — 
He  hath  destroyed  the  mighty  Bel; 
The  priests  and  dragon  slain  as  well ! " 
"  O  King,  before  thy  person  stand  they  — 
All  Babylon  enraged;   demand  they 
That  if  from  ruin  yourself  would  save, 
Then  haste  this  Man  unto  the  grave. 
For  God  whom  He  by  deed  defiled, 
Through  death  alone  is  reconciled." 

SOLO.     The  holy  Council  passionately  cry, 
As  to  the  throne  of  Pilate  they  draw  nigh ; 
The  blood  of  Jesus  vehemently  demand. 
What  blinds  them  that  they  take  this  awful  stand? 
What  is  it  that  their  arguments  presage, 
So  dark  their  passion  and  so  wild  their  rage? 

CHORUS.    Envy  which  no  pity  knows! 
Fire  of  Hell  that  inward  glows, 
Hath  a  brand  in  fury  burned, 
Goodness  into  evil  turned! 
Naught  is  holy  in  its  sight, 
Right  is  wrong,  and  wrong  is  right! 
Woe  to  those  whom  Envy  trips ! 
Woe  to  those  whom  Envy  grips! 

Guard  the  way  unto  your  soul  — 
Let  not  Envy's  strength  control! 
For  't  is  Satan's  joy  in  part, 
To  set  evil  in  the  heart ! 

C"9] 


ACT  XI 

Christus  is  led  before  Pilate  and  is  accused  by  the  Priests* 
Pilate  declares  Him  innocent,  but  allows  Him  to  be  led 
before  Herod. 


FIRST    SCENE 

Before  the  House  of  Pilate.  To  the  left,  the  High  Council 
the  Traders,  and  Witnesses;  to  the  right,  the  Guards 
with  Jesus 

ABDIAS  (to  Christus).  Ha!  Know  you  where  you 
are  going? 

CROWD.  Away  with  you  to  death,  false  Prophet ! 
Ha!  Are  you  afraid,  that  you  do  not  go  forward? 

LEVI.    Soon  you  will  have  your  merited  reward. 
SELPHA.    Push  Him  on! 

MELCHI  (striking  Him}.  Go  on!  The  way  is  not 
much  more.  Shall  we  have  to  carry  you? 

LEVI.    This  is  your  last  journey. 

CROWD.  Only  on  to  Calvary.  There  you  may  rest 
comfortably  on  the  cross. 

CAIAPHAS  (at  the  Palace  of  Pilate).  Be  quiet. 
We  must  announce  ourselves.  [Rabbi  advances  to  the 
gate  and  knocks. 

QUINTUS  (comes  out).  What  does  this  crowd  want 
here? 

RABBI.    The  High  Council  has  come. 


QUINTUS.  I  will  immediately  announce  you. 
[Exits. 

RABBI  (to  the  Council  members).  Do  you  hear! 
He  will  not  delay  announcing  our  presence. 

CAIAPHAS.  Members  of  the  High  Council!  If 
you  have  at  heart  your  holy  tradition,  your  honour, 
the  peace  of  the  whole  land,  then  ponder  well  this 
moment.  It  holds  us  and  this  Deceiver  in  the  balance. 
If  you  are  men  in  whose  veins  flows  any  of  the  blood 
of  your  Fathers,  then  stand  firm  in  your  resolve! 
An  immortal  monument  will  be  raised  to  your  memory. 

MEMBERS  OF  THE  COUNCIL.  Long  live  our 
Fathers!  Death  to  the  Enemy  of  the  people! 

CAIAPHAS.  Do  not  rest  until  He  has  been  re- 
moved from  the  quick  —  until  He  is  on  the  cross ! 

AXL.  We  will  not  rest!  We  demand  His  death, 
His  blood! 

CROWD.  Do  you  hear  that  —  you  King  —  you 
Prophet? 

SECOND    SCENE 

Pilate  appears  on  his  balcony  with  attendants. 

CAIAPHAS  (bowing).  Viceroy  of  the  great  Em- 
peror at  Rome ! 

ALL.    Happiness  to  you  —  blessing  on  you. 

CAIAPHAS.  We  have  a  man,  whose  name  is  Jesus, 
and  whom  we  have  brought  hither  to  your  judgment- 
seat,  that  you  may  ratify  the  death  sentence  pro- 
nounced upon  Him  by  the  High  Council. 

[121] 


PILATE.  Lead  Him  forth!  What  accusations 
have  you  against  this  Man? 

CAIAPHAS.  Were  He  not  a  great  evil-doer,  then 
would  we  not  have  handed  Him  over  to  you;  rather 
would  we  have  punished  Him  ourselves  according  to 
the  regulations  of  our  Law. 

PILATE.  Now,  of  what  evil  deed  has  He  been 
guilty? 

CAIAPHAS.  In  various  ways  He  has  grievously 
violated  the  sacred  Laws  of  the  people. 

PILATE.  Then  take  Him  away  and  judge  Him 
according  to  those  Laws! 

ANNAS.  He  has  already  been  judged  by  the  holy 
Sanhedrin,  and  has  been  declared  worthy  of  death. 

PRIESTS.  For,  according  to  our  Law,  He  has  de- 
served death. 

CAIAPHAS.  But  we  are  not  allowed  to  execute 
the  death  sentence  on  any  one.  Therefore  we  come  to 
the  Governor  of  the  Emperor  with  the  request  that  the 
sentence  be  sanctioned. 

PILATE.  How  can  I  condemn  a  man  to  death 
without  knowing  his  offence  and  before  I  have  been 
convinced  that  his  crime  is  deserving  of  death?  What 
has  He  done? 

RABBI.  The  sentence  of  the  High  Council  against 
this  Man  was  unanimously  given,  and  was  based  upon 
a  close  examination  of  His  crimes.  For  that  reason 
it  does  not  seem  necessary  for  the  Governor  to  take 
upon  himself  the  annoyance  of  another  examination. 

[122] 


PILATE.  What,  you  dare  to  suggest  to  me  —  the 
representative  of  the  Emperor  —  that  I  become  a  blind 
instrument  for  the  working  of  your  decree!  Far  be  it 
from  me !  I  must  know  what  law  He  has  broken,  and 
in  what  way  He  has  overstepped  it 

CAIAPHAS.  We  have  a  law;  and  according  to 
it  He  must  die.  For  He  has  represented  Himself  as 
the  Son  of  God. 

ALL.  We  have  every  one  of  us  heard  the  blas- 
phemy from  His  own  mouth. 

ANNAS.  Therefore  we  must  insist  that  He  suffer 
the  awful  punishment  of  death. 

PILATE.  On  account  of  such  speech,  which  at  best 
is  only  the  fruit  of  a  fanciful  imagination,  a  Roman 
can  find  no  one  guilty  of  death.  Who  knows  whether 
this  Man  may  not  be  the  Son  of  God?  If  you  have 
no  other  crime  to  lay  to  His  charge,  then  do  not  think 
that  I  will  perform  your  desire. 

CAIAPHAS.  This  Man  has  been  guilty  of  dreadful 
offence,  not  only  against  our  Law,  but  also  against  the 
Emperor  himself.  We  have  found  Him  to  be  an  agi- 
tator of  the  people. 

ALL.    He  is  a  misleader,  an  insurgent ! 

PILATE.  I  have  indeed  heard  of  one  Jesus,  who 
goes  hither  and  thither  through  the  land,  teaching  and 
performing  extraordinary  deeds.  But  never  have  I 
heard  aught  of  any  riot  provoked  by  Him.  If  anything 
had  occurred  of  such  a  nature,  I  should  assuredly  have 
learned  of  it  before  you,  —  I  who  am  the  justice  of 
peace  in  the  land  and  who  am  apprised  of  every  move- 

[123] 


ment,  every  deed  of  the  Jews.    Yet  tell  me,  when  and 
where  has  He  stirred  up  a  disturbance? 

NATHANAEL.  He  assembled  around  Him  hosts 
by  the  thousands,  and  not  so  very  long  ago  He  gath- 
ered together  just  such  a  crowd  to  make  a  solemn 
entrance  into  Jerusalem. 

PILATE.  I  know  it,  but  nothing  of  a  seditious 
nature  occurred. 

CAIAPHAS.  Is  it  not  treachery  when  He  forbids 
the  people  to  pay  tribute  to  the  Emperor? 

PILATE.    What  proof  have  you? 

CAIAPHAS.  Sufficient  evidence,  indeed,  for  He 
proclaims  Himself  the  Messiah,  the  King  of  Israel. 
Is  not  that  a  challenge  threatening  the  downfall  of  the 
Emperor? 

PILATE.  I  admire  your  suddenly  awakened  zeal 
for  the  authority  of  the  Emperor!  (To  Christus.)  Do 
you  hear  what  severe  accusations  these  people  bring 
against  you?  What  have  you  to  say?  [Christus  remains 
silent. 

CAIAPHAS.  See,  He  cannot  deny  it.  His  silence 
is  a  confession  of  His  guilt. 

ALL  (in  an  uproar).    Now,  condemn  Him! 

PILATE.  Patience !  There  is  time  enough !  I  will 
examine  Him  alone.  (To  his  attendants.)  Perhaps, 
when  He  is  no  longer  overawed  by  the  crowd  and  by 
the  anger  of  His  accusers,  He  will  speak  and  give  me 
answer.  Lead  Him  here.  (To  the  servants.)  Go,  my 
guards  will  take  charge  of  Him.  (To  the  members  of  the 
Council.)  And  you  —  once  more  reflect  well  the  foun- 

[124] 


dation  or  the  falsity  of  your  grievances,  and  decide 
carefully  whether  these  grievances  are  not  born  of  an 
ignoble  source.  Then  let  me  learn  your  intention. 
[He  turns  from  them. 

JOSUE.    Everything  has  already  been  thought  over 
and  proven.    The  Law  deems  Him  worthy  of  death! 

RABBI   (to    the    others).     This   is  an  unfortunate 
delay ! 

CAIAPHAS.    Do  not  lose  courage!    Victory  belongs 
to  the  resolute !    [Exits. 


THIRD    SCENE 

Pilate  and  his  attendants.     Christus  is  brought  on  to 
the  balcony. 

PILATE  (to  Christus).  You  have  heard  the  accu- 
sations of  the  Council  lodged  against  you.  Give  me 
answer  as  to  them!  You  have,  so  they  say,  named 
yourself  the  Son  of  God.  Whence  are  you?  (Christus 
is  silent.)  Do  you  not  even  speak  to  me?  Do  you  not 
know  that  I  have  the  power  to  crucify  you  as  well  as 
to  set  you  free? 

CHRISTUS.  You  could  have  no  power  over  me, 
if  it  were  not  given  you  from  on  high.  Hence  he  who 
has  delivered  me  unto  you  has  done  a  greater  sin. 

PILATE  (aside).  A  candid  word!  Are  you  the 
King  of  the  Jews? 

CHRISTUS.  Say  you  thus  to  me  of  your  own  ac- 
cord, or  because  of  what  others  have  said  to  you  of  me? 

[125] 


PILATE.  Am  I  a  Jew?  Your  people  and  your 
priests  have  handed  you  over  to  me.  They  have  ac- 
cused you  of  wishing  to  be  the  King  of  Israel.  What 
causes  them  to  do  so? 

CHRISTUS.  My  kingdom  is  not  of  this  world.  For 
if  my  kingdom  were  of  this  world,  then  truly  would  my 
subjects  have  fought  for  me,  that  I  might  not  have 
fallen  into  the  hands  of  the  Jews.  But  my  kingdom  is 
not  here. 

PILATE.    Then  you  are  a  king? 

CHRISTUS.  You  say  so.  I  am  a  king  and  I  came 
for  that  purpose  into  the  world,  that  I  might  be  evi- 
dence of  the  truth.  Whoso  lives  in  truth  always,  he 
shall  hear  my  voice. 

PILATE.    What  is  truth? 


FOURTH   SCENE 

Quintus,  the  servant  of  Pilate,  enters  quickly. 

QUINTUS  (excitedly).  My  Lord,  your  servant 
Claudius  is  here.  He  has  urgent  news  to  impart  to 
you  from  your  wife. 

PILATE.  Let  him  come!  Lead  him  hither  at  once ! 
(To  Claudius,  <who  enters,  after  Christus  is  led  away.) 
What  news  have  you  from  my  beloved  wife? 

CLAUDIUS.  My  Lord,  your  wife  greets  you,  and 
begs  you  earnestly,  for  her  sake  as  well  as  for  your 
own,  have  naught  to  do  against  the  just  and  innocent 
Man  who  before  your  judgment-seat  has  been  accused. 

[126] 


On  His  account,  in  the  past  night,  she  has  suffered  the 
anguish  and  fear  of  a  terrible  dream. 

PILATE.  Go  back  to  her,  and  tell  her  that  she  may 
rest  without  uncertainty.  I  personally  will  have  naught 
to  do  with  the  machinations  of  the  Jews,  but  instead 
shall  exert  every  means  to  save  Him.  [Claudius  exits. 


FIFTH    SCENE 

PILATE  (io  his  companions).  I  would  that  I  had 
nothing  to  do  with  this  business.  What  do  you  think, 
my  friends,  of  these  accusations  of  the  Jewish  priests? 

MELA.  It  seems  to  me  that  envy  and  jealousy  alone 
have  driven  them  to  do  this.  The  consuming  hate 
tells  in  their  words,  and  in  the  very  expressions  of  their 
faces. 

SYLVIUS.  The  hypocrites  act  as  though  the  au- 
thority of  the  Emperor  lay  close  to  their  hearts, 
whereas  it  is  only  because  they  believe  their  own 
authority  is  endangered  by  this  Teacher  among  the 
people. 

PILATE.  I  believe  you.  I  cannot  imagine  that  this 
Man  has  any  criminal  plans  in  mind.  He  possesses  so 
many  lofty  qualities  —  in  His  features,  in  His  bearing, 
and  His  speech  is  such  evidence  of  His  lofty  frankness 
and  high  talents  that,  to  me,  He  seems  much  more  a 
wise  Man.  Perhaps  too  wise  indeed  for  these  evil  men 
to  tolerate  the  light  of  wisdom!  And  the  ominous 
dream  of  my  wife  on  His  account !  —  If  He  were  really 
of  divine  origin?  —  No,  I  will  positively  refuse  to  meet 
the  demands  of  the  priesthood !  (  To  his  servants.)  Let 

[127] 


the  High  Priest  come  hither  again;  and  lead  forth 
the  Accused  once  more  from  the  Judgment  Hall.  [Ser- 
vants exit. 


SIXTH    SCENE 

The  former.    Members  of  the  High  Council  beneath  the 
Balcony 

PILATE.  Here  again  you  have  your  Prisoner.  He 
is  without  blame ! 

ANNAS.  We  have  the  Emperor's  word  that  our 
Law  shall  be  upheld.  How  is  He  guiltless  who  rides 
roughshod  over  this  very  Law? 

ALL.    He  is  worthy  of  death ! 

CAIAPHAS.  Is  He  not  also  punishable  by  the 
Emperor,  when  He  wantonly  violates  that  which 
through  the  will  of  the  Emperor  has  been  granted  us? 

PILATE.  I  have  already  told  you :  If  He  has  trans- 
gressed your  Law,  then  punish  Him  according  to  that 
Law,  as  far  as  you  are  empowered  to  do  so.  I  cannot 
pronounce  the  death  sentence  over  Him,  because  I 
find  nothing  in  Him  which,  according  to  the  law  by 
which  I  am  to  judge,  is  deserving  of  death. 

CAIAPHAS.  If  any  one  proclaims  himself  a  king 
in  the  provinces  of  the  Emperor,  is  he  not  a  rebel? 
Does  he  not  merit  the  punishment  of  a  rebel  —  the  sen- 
tence of  death? 

PILATE.  If  this  Man  has  called  Himself  a  king, 
even  then  can  I  not  through  such  ambiguous  claims 

[128] 


bring  myself  to  condemn  Him.  It  is  generally  taught 
among  us  in  Rome  that  every  wise  man  is  a  king.  But 
you  have  not  brought  forward  any  evidence,  further- 
more, which  points  to  His  having  claimed  sovereign 
power  for  Himself. 

NATHANAEL.  Is  there  not  sufficient  evidence  in 
the  facts  that  through  Him  the  people  have  been 
thrown  into  turbulence,  and  that  He  has  carried  His 
teaching  through  all  Judaea  —  from  Galilee,  where  He 
first  drew  to  Him  His  disciples,  even  here  to  Jerusalem? 

PILATE.    Is  He  from  Galilee? 
ALL.    Yes,  He  is  a  Galilean. 

RABBI.  His  home  is  in  Nazareth,  in  the  province 
of  King  Herod. 

PILATE.  Ah,  if  that  be  so,  then  am  I  relieved  of 
judging  Him.  Herod,  the  King  of  Galilee,  has  come 
hither  for  the  Feast :  he  may  now  render  judgment  on 
his  subject!  Take  Him  away,  and  fetch  Him  before 
His  King.  My  own  bodyguard  shall  lead  Him  thither. 
[Exits,  'with  his  attendants. 

CAIAPHAS.  Away,  then,  to  Herod!  Through 
him,  who  himself  holds  the  belief  of  our  Fathers,  shall 
we  find  better  protection  for  our  holy  Law ! 

ANNAS.  And  if  a  thousand  hindrances  presented 
themselves,  still  must  the  punishment  be  measured  out 
to  the  Offender ! 

ALL  (to  Christus).  An  hour  sooner  or  later,  still 
must  you  come  to  the  end,  and  at  that,  this  very  day! 
[All  exit. 

END   OF   ACT 

9  [  129  ] 


XII.     REPRESENTATION 

Christus  before  Herod 
Prologue 

New  anguish  falls  upon  the  One  we  love ; 

To  Herod  brought,  to  that  vain  worldly  prince, 

His  miracles  and  second-sight  He  will  not  show. 

The  wisest  oft  by  fools  are  badly  treated! 

In  garments  white,  exhibited  to  view, 

This  One  is  sneered  at  by  King  H erod's  men. 

In  such  wise  Samson  stood  —  the  youthful  hero, 
Bereft  of  sight,  and  fettered  and  despised,  — 
Because  of  weakness  scorned  by  Philistines! 

But  He  who  now  seems  weak,  will  yet  be  strong ! 
And  He  who  humble  stands,  will  yet  be  King! 
And  He  who  now  is  scorned,  will  yet  be  loved ! 

CHORUS.    In  vain  the  High  Priests  show  consuming 

hate, 

Demanding  judgment  from  the  heathen's  throne ; 
Yet  Herod  sits  unmoved  by  all  their  threats! 

SOLO.    Ah,   see  them  drag  the  Christ  to   Herod's 

throne ! 

The  Saviour  seems  to  them  a  heedless  jest ! 
Alas,  His  anguish  is  most  terrible ! 

TABLEAU:  Samson,  imprisoned  and  ridiculed  by  the 
Philistines,  rends  asunder  the  pillars  to  which  he  is 
chained.  The  Philistine  princes  are  entertained  by 
Samson.  Judges  16  :  25.  This  picture  symbolises  the 
insults  and  ridicule  heaped  on  Christus  by  Herod. 
[130] 


CHORUS.    Yonder  is  Samson,  see  how  strong  his 

hand, 

Yet  chains  of  slavery  is  he  forced  to  wear ! 
This  hero  —  Samson  —  once  a  thousand  slew, 
But  suffers  now  the  stigma  of  a  slave. 

Once  dreaded  by  his  enemies,  he  serves 
As  target,  now,  for  all  their  bitter  scorn! 
The  Philistines  upon  him  turn  their  ire, 
Make  merry  of  his  weakness  and  his  pain! 

'T is  thus  that  Jesus  stands,  the  Son  of  God! 
To  haughty  foes  a  pleasing  sight  He  seems, 
With  insults  heaped,  and  clad  in  garments  white, 
Derided  and  weighed  down  and  sore  abused ! 


ACT  XII 

Herod  treats  Christus  with  ridicule  and  disdain,  sending 
Him  back  to  Pilate. 


FIRST    SCENE 

Fall  of  Herod.    Herod,  Naasson,  Manasses,  Courtiers; 
Zabulon,  Servant 

HEROD.    What?    Is  it  the  famous  Man  from  Naza- 
reth whom  they  bring  here  a  prisoner  to  me? 

ZABULON.     Certainly,   my   Lord!     I   have   seen 
Him,  and  on  the  instant  recognised  Him. 

HEROD.    For  a  long  time  I  have  wished  to  see  this 
Man,  about  whose  acts  the  whole  land  speaks  so  loudly, 

[131] 


to  whom  the  people,  as  if  won  by  magic  stroke,  flock  in 
thousands.  (Seats  himself.)  Could  He  not  very  easily 
be  John  raised  from  the  dead? 

NAASSON.  Oh,  no!  John  performed  no  miracles. 
But  of  this  One  they  relate  deeds  truly  wonderful,  if 
the  tales  be  not  magnified. 

HEROD.  Since  I  have  so  unexpectedly  come  to  see 
Him,  I  am  most  eager  to  test  His  magic  art. 

MANASSES.  He  will  be  very  willing  to  satisfy  you 
therein,  in  order  to  gain  your  favour  and  protection. 

HEROD  (to  Zabulon).  Tell  the  priests  that  they 
may  come  in  with  the  Prisoner.  [Zabulon  exits. 

MANASSES.  They  will  likely  come  with  com- 
plaints against  this  Man,  since  they  have  been  deserted 
by  the  people. 

HEROD.  They  must  lodge  such  before  Pilate: 
here  I  have  naught  to  do,  naught  to  judge. 

MANASSES.  Perhaps  they  have  been  refused  by 
the  Governor,  and  now  seek  another  outlet. 

HEROD.  I  will  not  meddle  in  their  quarrels ;  I  will 
only  see  Him  and  test  His  miraculous  powers. 


SECOND    SCENE 

The  foregoing.    Caiaphas,  Annas,  Rabbis.    The  four 
Priests.    Christus,  led  by  the  Soldiers  of  Herod 

CAIAPHAS.    O  most  mighty  King! 

THE  PRIESTS.    Peace  and  blessings  to  thee  from 
on  high! 

[132] 


CAIAPHAS.  We  have  brought  you  here  a  prisoner 
from  the  Council  —  a  criminal,  that  you  may  inflict 
upon  Him  the  penalty  of  the  Law. 

NATHANAEL.    The  Law  demands  His  death. 

ANNAS.  May  it  please  the  King  to  countenance 
the  sentence  of  the  Synagogue. 

HEROD.  How  can  I  be  judge  in  a  foreign  land? 
Take  Him  before  your  Governor;  he  will  render  you 
justice. 

CAIAPHAS.  Pilate  sent  Him  hither,  because,  being 
a  Galilean,  He  is  your  subject. 

HEROD.  Is  this  Man  from  my  district?  Who  is 
He? 

PRIESTS.    He  is  Jesus  of  Nazareth. 

CAIAPHAS.  Hence,  Pilate  said:  Go  to  King 
Herod;  let  him  pronounce  sentence  upon  his  own 
subject. 

HEROD.  And  did  Pilate  speak  thus?  Wonderful! 
(To  his  courtiers!)  Pilate  sends  this  Man  to  me? 
Grants  me  judicial  power  in  his  own  territory? 

NAASSON.  It  would  seem  that  he  wishes  to  draw 
nigh  unto  you  again. 

HEROD.  This  shall  be  evidence  of  his  renewed 
friendship!  (To  Christus.)  Much,  very  much  have  I 
heard  of  you  through  report,  and  for  some  while  have 
I  wished  to  see  a  man  over  whom  the  entire  land  seems 
astounded. 

RABBI.  He  is  a  deceiver,  an  enemy  to  the  holy 
Law! 

[133] 


HEROD.  I  have  heard  that  you  can  solve  the  mys- 
tery of  man,  and  perform  deeds  exceeding  the  bounds 
of  nature.  Give  us  proof ;  let  us  have  evidence  of  your 
knowledge,  of  your  high  art!  We  will  then  believe 
in  you  with  the  people,  and  likewise  we  will  honour 
you. 

SADOK.  O  King!  Do  not  allow  yourself  to  be 
led  astray.  He  is  in  league  with  Beelzebub. 

HEROD.  That  is  all  one  to  me.  Hear  you :  I  had 
a  wonderful  dream  last  night.  Can  you  tell  me  what 
it  was  I  dreamed?  If  so,  I  will  exalt  you  as  a  profound 
interpreter  of  hearts.  ( Christus  remains  silent. )  You 
are  not  able  to  go  so  far?  Well,  then,  perhaps  you 
will  explain  the  dream  if  I  tell  it  you.  I  dreamt:  I 
stood  on  the  battlements  of  my  palace  at  Herodium, 
and  saw  the  sun  go  down.  Suddenly  before  me  stood 
a  man  who  stretched  out  his  hand  and,  pointing  to  the 
evening  glow,  said :  "  Behold !  yonder  in  Hesperia  is 
Thy  bedroom !  "  Scarcely  had  the  words  been  spoken, 
when  his  form  melted  away  in  the  mist.  I  was  startled 
and  awoke.  If  you  are  inspired  as  Josephed  when  he 
stood  before  the  King  of  the  Egyptians,  explain  this 
dream  now  to  your  King.  (Christus  remains  silent,  'with 
sad  gaze  upon  Herod.}  Are  you  not  skilled  in  this 
special  branch,  either?  Well,  then,  show  us  some 
evidence  of  your  famous  magic.  Make  sudden  dark- 
ness fall  upon  this  room !  —  or  raise  yourself,  and 
go  from  us  without  touching  the  floor !  —  or  change 
the  scroll  on  which  your  death  sentence  is  written  into 
a  serpent!  You  will  not?  Or  is  it  that  you  cannot? 
It  should  be  an  easy  task  for  you.  Much  greater  mar- 
vels do  they  tell  of  you!  (To  the  courtiers.)  He  is 
silent;  He  does  not  move!  Ah,  I  see!  The  reports 
which  have  made  Him  so  very  famous  are  naught  but 

[134] 


empty  people's  tittle-tattle.     He  knows  nothing  and 
can  do  nothing! 

NAASSON.  It  is  easy  to  dazzle  the  eyes  of  stupid 
people  sometimes.  But  it  is  otherwise  —  a  far  different 
thing  —  to  stand  before  a  wise  and  powerful  king. 

MANASSES.  If  it  is  really  true  that  there  is  some- 
thing in  you,  why  in  this  instance  keep  your  learning 
silent?  Why  does  your  power  disappear  before  the 
eyes  of  your  King,  like  a  bubble? 

HEROD.  There  is  nothing  in  Him.  He  is  a  con- 
ceited Man  whose  head  has  been  turned  by  the  ap- 
plause of  the  multitude.  (To  the  Priests.)  Let  Him 
go!  He  is  not  worthy  the  trouble  you  take! 

CAIAPHAS.  O  King!  trust  not  this  crafty  man. 
He  pretends  to  be  a  fool  so  as  to  gain,  under  such  pre- 
tence, a  milder  sentence  from  you. 

ANNAS.  If  He  is  not  put  out  of  the  way,  then  even 
the  person  of  the  King  himself  is  in  danger ;  for  He  has 
dared  to  proclaim  Himself  as  King! 

HEROD.  This  one?  A  king?  A  king  of  fools,  in- 
deed! That  is  more  credible,  and  as  such  He  deserves 
to  be  acknowledged.  Therefore  I  will  give  Him  the 
gift  of  a  king's  mantle  and  set  Him  up  formally  as  the 
King  of  all  fools.  [Signs  to  his  servants. 

PRIESTS.    Not  that  — for  He  deserves  death! 

CAIAPHAS.  Our  King!  Upholder  of  our  holy 
Law !  Remember  your  duty  to  punish  the  transgressor 
as  the  Law  ordains. 

HEROD.    What  have  you  really  against  Him? 

RABBI.    He  has  violated  the  Sabbath  of  the  Lord. 
[135] 


NATHANAEL.    He  is  a  blasphemer  of  God. 

PRIESTS.  As  such,  the  Law  proclaims  Him  de- 
serving of  death! 

EZEKIEL.  He  has  furthermore  spoken  scornfully 
of  the  Temple  which  your  Father  so  magnificently 
restored  to  us:  He  declared,  forsooth,  that  on  that 
very  ground  He  would  build  another  Temple  more 
beautiful  still,  and  all  in  three  days ! 

HEROD  (laughing}.  Now,  that  assuredly  proves 
Him  to  be  king  of  all  fools  \ 

JOSUE.  Of  you,  also,  has  He  spoken  insultingly. 
Oh,  insolent  words !  He  has  dared  to  call  you  —  you, 
His  Lord  and  King  —  a  fox! 

HEROD.  Then,  in  faith,  He  has  attributed  to  me 
a  quality  which  He  Himself  lacks  utterly.  (Servants 
enter  'with  a  mantle.}  Clothe  Him!  Bedecked  in  this 
strikingly  beautiful  king's  robe,  He  will  play  His  r61e 
well  before  the  people. 

ZABULON  (after  having  clad  Christus).  Now,  for 
the  first  time  you  will  make  a  mighty  sensation,  you 
great  M iracle- worker ! 

PRIESTS.    Death!    Death!    He  shall  die! 

MANASSES.  Many  a  fool  in  the  land  would  ac- 
count himself  in  honour  to  be  such  a  king! 

FIRST  SOLDIER.  Come,  now,  you  Wonder-king, 
let  us  escort  you! 

SECOND  SOLDIER.  What  luck  for  me  to  walk 
by  the  side  of  such  a  great  Lord!  [They  lead  Christus 
away. 

[136] 


THIRD    SCENE 

The  foregoing f  without  Christus  and  the  Soldiers 

CAIAPHAS.  You  are  now  yourself  convinced,  O 
King,  that  His  alleged  great  deeds  are  only  falsehood 
and  deceit  whereby  He  has  duped  and  misled  the 
people.  Render,  therefore,  the  verdict! 

PRIESTS.  Pronounce  the  sentence  of  death  upon 
Him,  as  the  Law  requires! 

HEROD.  My  decision  is:  He  is  a  simple-minded 
Man  and  is  not  capable  of  the  misdeeds  of  which  you 
accuse  Him.  If  He  has  done  aught  or  spoken  any- 
thing illegal,  then  it  must  be  attributed  to  His 
simplicity. 

CAIAPHAS.  O  King!  take  care  that  you  do  not 
deceive  yourself! 

ANNAS.  I  fear  that  you  will  yet  repent  of  it  if 
you  now  let  Him  go  unpunished. 

HEROD.  I  fear  naught!  One  must  deal  with  a 
fool  as  a  fool;  He  has  already  suffered  for  His  follies 
and  will  avoid  them  in  the  future.  Consequently  the 
trial  is  at  an  end. 

RABBI.  Alas !  then  is  it  all  over  with  our  Law  and 
religion,  with  Moses  and  the  Prophets! 

HEROD.  I  hold  to  my  decision.  I  am  tired  and 
will  no  longer  vex  myself  with  this  affair !  Pilate  may 
yet  decide  according  to  his  official  duty.  Back  to  him ! 
Present  him  with  greetings  and  friendship  from  King 
Herod!  [The  Priests  exit. 

[137] 


FOURTH   SCENE 

Herod,  Naasson,  Manasses 

HEROD  {stepping  down  from  his  seat).  This  time 
the  result  has  not  come  up  to  our  expectations.  I 
promised  myself  the  great  enjoyment  of  every  con- 
ceivable miracle  and  of  eloquent  speech,  but  we  saw 
only  an  ordinary  man  before  us,  and  heard  no  sound 
from  His  lips. 

MANASSES.  How  false  rumour  colours  that 
which  on  near  approach  appears  to  be  nothing! 

HEROD.  Friends!  That  is  not  John!  John  at 
least  spoke,  and  spoke  with  vigour  and  in  wisdom  — 
all  of  which  one  must  esteem.  But  yonder  Man  is  as 
dumb  as  a  fish! 

NAASSON.  I  only  wonder  that  the  Priests  perse- 
cute Him  to  death. 

HEROD.  Since  I  have  seen  Him  here  myself,  I 
think  there  is  so  much  less  reason  for  them  to  get  rid 
of  Him.  Besides,  Pilate  would  not  have  sent  Him  here 
to  me  if  He  had  been  found  guilty  of  any  great  crime. 
It  were  folly  indeed  to  revenge  oneself  on  such  a  Man. 
We  have,  nevertheless,  my  friends,  sacrificed  quite 
enough  time  to  this  troublesome  affair.  Let  us  go 
and  make  up  for  lost  moments  with  a  more  agreeable 
pursuit.  [They  exit. 

END  OF  ACT 


[138] 


XIII.     REPRESENTATION 

The  Scourging  and  the  Crown  of  Thorns 
Prologue 

Ah,  what  a  sight  to  place  before  their  eyes  — 
The  followers  of  Christ  are  bowed  in  woe! 
The  body  of  the  Lord  with  wounds  is  marked, 
Where  countless  scourge-strokes  cut  into  His  soul! 

His  head  is  circled  with  a  crown  of  thorns, 
The  sharp  spikes  drawing  drops  of  sweat  and  blood ! 
His  face  scarce  recognised,  so  great  the  pain! 
Ah,  who  would  not  some  tears  of  pity  shed! 

When  Jacob  once  beheld  his  loved-one's  coat 
With  blood  bespattered,  how  he  trembled  then! 
How  wept  he,  crying  in  his  sudden  grief, 
Heart-rending  lamentations  and  deep  woe! 

Thus  let  us  weep  when  we  behold  our  Friend  — 
Our  Friend  who  in  such  agony  is  found! 
Our  sins  upon  Him  have  been  visited, 
And  for  our  sins  they  wound  His  loving  heart. 

SOLO.    As  yet  they  have  not   ceased  their  brutal 

rage; 

Their  thirst  for  vengeance  is  not  satisfied! 
Their  thoughts  are  bent  on  murder,  while  they  brood  — 
This  reckless  band  which  Satan's  grasp  confines! 

CHORUS.    Can  nothing  seem  to  soften  these  hard 

hearts, 

Not  even  when  they  see  His  body  torn  — 
His  body  seared  with  wounds  innumerable? 
Is  there  no  hope  to  waken  them  to  love? 
[139] 


TABLEAU:  Joseph's  coat  besprinkled  with  blood. 
Geru  37:  31,  32.  The  body  of  Christus  is  cruelly  lace- 
rated by  scourge  strokes.  Isaac  symbolises  the  sorrow- 
ful and  dying  Messiah.  Isaac,  the  child  of  promise,  the 
only  son  of  Abraham,  himself  carries  the  'wood  over 
'which  he  shall  be  sacrificed  on  Mount  Moriah.  Jesus, 
likewise  a  child  of  promise  and  the  only  Son  of  God, 
drags  the  cross  to  Calvary,  in  accordance  'with  the  old 
tradition,  even  a  part  of  the  self-same  lofty  march.  A 
ram,  sacrificed  in  Isaac's  stead,  typifies  that  Christ 
shall  shed  blood  when  the  crown  of  thorns  is  put  upon 
Him. 

Oh,  what  a  scene !  what  shuddering  scene  is  this ! 
Behold,  the  coat  of  Joseph  stained  with  blood, 
While  Jacob's  cheeks  turn  pale  and  in  his  eyes 
Hot  tears  of  deepest  sorrow  slowly  well ! 

SOLO.     "  Where  is  my  Joseph  —  my  one  joy  in  life, 
On  whom  depended  an  old  father's  hope? 
Ah,  woe!   the  blood  of  Joseph  stains  his  coat! 
Alas,  the  blood  of  Joseph,  my  dear  son! 

"  A  wild  beast  hath  his  body  rent  asunder ! 
My  Joseph,  after  thee  I  soon  shall  follow, 
For  naught  on  earth  shall  comfort  me  in  sorrow ! " 
So  Jacob  mourned,  and  so  did  he  complain, 
And  nevermore  did  he  his  son  behold ! 

CHORUS.    'T  is  even  thus  as  happened  long  ago, 
The  flesh  of  Jesus  shall  be  torn  in  rage ; 
Thus  will  His  precious  blood,  in  anguish  spilled, 
In  streams  flow  down  from  every  gaping  wound! 

TABLEAU:  The  ram  intended  for  the  Sacrifice  is  en- 
tangled in  the  thorn-bush.     Gen.  22:  13. 
[140] 


CHORAGUS  (Rectt.).      Ah,  stay  thy  father's  hand 
and  kill  him  not, 

Abraham,  Abraham! 

In  thy  great  faith,  thy  son  was  given  up! 
Thus  spake  Jehovah :   "  Abraham, 
Thy  only  son  whom  thou  wouldst  sacrifice, 
Shall,  for  the  Nation's  weal,  live  on  with  thee ! " 

SOLO.    A  ram  entangled  in  a  thicket  stood, 
Which  Isaac's  father  quickly  sacrificed, 
Since  thus  Jehovah  chose  for  him  to  do! 

TENOR.     A  mystery  this  picture  represents, 
'T  is  veiled  in  sacred  shadow,  yet  behold ! 
Thorn-crowned  stands  Jesus,  ready  with  His  life, 
To  make,  according  to  the  Father's  will, 
A  sacrifice  in  payment  for  our  sins ! 

CHORUS.    Oh,  where  may  one  encounter  any  love 
Which  ever  to  this  love  will  equal  be ! 


ACT  XIII 

Christus  is  led  once  more  before  Pilate,  'who  offers  the 
choice  between  Him  and  Bar  abb  as,  and  allows  Jesus 
to  be  scourged. 

FIRST    SCENE 

Caiaphas,  Annas,  of  the  High  Council.  Traders  and  Wit- 
nesses appear  ivtth  Christus  again  led  before  Pilate's 
place,  flanked  on  each  side  by  soldiers. 

CAIAPHAS.     Now  then,   Pilate  must  be  pressed 
importunately,  and  if  he  does  not  judge  according  to 

[141] 


our  will,  then  we  must  threaten  him  with  impeach- 
ment before  the   Emperor. 

ANNAS.  Shall  I  still  in  my  old  age  see  the  Syna- 
gogue overthrown?  Alas,  no!  With  faltering  tongue 
I  shall  call  down  blood  and  death  upon  the  criminal, 
and  not  until  I  see  this  scoundrel  die  upon  the  cross 
will  I  descend  into  the  grave  of  my  Fathers. 

RABBI.  Rather  would  we  ourselves  be  burned 
beneath  the  ruins  of  the  Temple  than  swerve  from  our 
resolve. 

PHARISEES.  We  shall  not  give  up  until  He  is 
dead. 

CAIAPHAS.  Whoever  does  not  hold  to  this  re- 
solve, let  him  be  cast  out  from  the  Synagogue ! 

ANNAS.    The  curse  of  the  Fathers  fall  upon  him! 

CAIAPHAS.  Time  presses.  The  day  advances. 
Now,  now,  must  we  set  all  plans  in  motion,  so  that 
before  the  Feast  our  will  shall  be  done. 


SECOND    SCENE 
Pilate  appears  on  the  balcony  with  his  attendants. 

CAIAPHAS.  Once  more  we  bring  before  your 
judgment-seat  this  Prisoner,  and  now  we  demand  His 
death  in  all  earnestness. 

THE  PRIESTS  AND  PHARISEES.  We  insist 
upon  it!  He  shall  die! 

PILATE.  You  bring  me  this  Man  as  an  inciter  of 
the  people,  and  behold,  I  have  heard  your  complaints, 
I  have  myself  examined  Him,  and  have  found  nothing 
about  Him  wherefor  you  could  accuse  Him. 

[142] 


CAIAPHAS.  We  remain  firm  in  our  charges.  He 
is  a  criminal  deserving  death. 

PRIESTS.  A  criminal  against  our  Law  and  against 
the  Emperor. 

PILATE.  I  sent  Him  to  Herod,  because  He  was  a 
Galilean.  Have  you  there  registered  your  complaints? 

CAIAPHAS.  Yes,  but  Herod  would  not  judge  Him 
because  you  have  to  command  —  you  are  in  authority ! 

PILATE.  He  also  has  found  nothing  in  Him  which 
deserves  death.  However,  I  will  now,  in  order  to  meet 
your  wishes,  have  this  Man  punished  with  scourge 
strokes,  but  afterwards  I  shall  set  Him  free. 

ANNAS.    That  will  not  do. 

CAIAPHAS.  The  law  prescribes  for  such  a  crim- 
inal, not  punishment  by  the  scourge,  but  the  punish- 
ment of  death. 

PRIESTS.    To  death  with  Him! 

PILATE.  Is  your  hatred  of  this  Man  so  deep,  so 
bitter,  that  it  cannot  be  appeased  with  blood  from  His 
wounds?  You  force  me  to  say  frankly  to  you  what 
I  think :  Driven  by  ignoble  rage,  you  pursue  Him,  be- 
cause the  people  are  more  attached  to  Him  than  to 
you!  I  have  heard  enough  of  your  despicable  com- 
plaints. I  will  now  hearken  to  the  voice  of  the  people ! 
Shortly  a  tremendous  crowd  will  assemble  here,  ac- 
cording to  an  ancient  custom,  to  beg  the  release  of  one 
prisoner  at  the  Feast  of  the  Passover.  Then  I  shall 
see  whether  your  spleen  is  the  reflection  of  popular 
sentiment  or  only  your  own  personal  vengeance! 

CAIAPHAS  (bowing).  Events  will  show,  O  Gov- 
ernor, that  you  have  unjustly  thought  evil  of  us. 

[143] 


JOSUE.  Truly,  it  is  not  thirst  for  vengeance,  but 
holy  zeal  for  God's  Law  —  the  Law  of  our  Fathers  — 
which  incites  us  to  seek  His  death. 

PILATE.  You  know  of  the  murderer,  Barabbas, 
who  lies  in  chains,  and  of  his  infamous  deeds.  Be- 
tween him  and  Jesus  of  Nazareth  I  will  let  the  people 
have  choice.  Whichever  one  they  choose,  to  that  one 
will  I  give  freedom. 

ALL.  Then  release  Barabbas,  and  to  the  cross  with 
the  other! 

PILATE.  You  are  not  the  people!  The  people 
themselves  must  pass  sentence.  Meanwhile  I  will  have 
this  Man  scourged.  (To  the  servants.)  The  soldiers 
shall  lead  Him  forth,  and,  according  to  the  Roman 
law,  shall  scourge  Him.  (To  his  associates.)  What- 
ever He  may  have  done  in  any  way  will  thus  be  suffi- 
ciently compensated  for,  and  perhaps  the  sight  of  the 
scourging  may  soften  the  blind  wrath  of  His  enemies. 
[Exits  with  attendants. 


THIRD    SCENE 
The  Priesthood,  etc.,  tinder  the  Empty  Balcony 

CAIAPHAS.  Pilate  calls  upon  the  voice  of  the 
people.  Well,  we  also  appeal  to  them.  (  To  the  Traders 
and  Witnesses.)  Now,  good  Israelites,  your  time  has 
come !  Go  hence  into  the  streets  of  Jerusalem !  Sum- 
mon your  friends,  our  loyal  folk,  to  come  hither ;  gather 
them  together  in  compact  crowds.  Kindle  their  hearts 
with  glowing  hate  against  the  Enemy  of  Moses.  The 
waverers  you  must  strive  to  win  by  means  of  promises 
and  through  the  strength  of  your  words.  Intimidate 

[144] 


the  followers  of  the  Galilean  by  a  concerted  attack  upon 
them,  through  ridicule,  threats,  and,  if  it  must  be,  by 
means  of  violence.  Act  in  such  manner  that  none  of 
them  will  dare  show  himself  here,  much  less  open 
his  mouth ! 

TRADERS  AND  WITNESSES.  Indeed,  we  will 
hasten  and  soon  return! 

DATHAN.  Each  of  us  at  the  head  of  an  enthusi- 
astic crowd! 

CAIAPHAS.  We  will  assemble  in  the  street  of  the 
Sanhedrin.  [The  Traders  and  Witnesses  exit.  The 
Priests  call  after  them:  "Hail,  faithful  followers  of 
Moses!" 

CAIAPHAS.  Now  let  us  no  longer  defer!  Let  us 
reach  the  multitude,  exhort  them,  inflame  them! 

ANNAS.  From  every  street  in  Jerusalem  we  will 
lead  them  before  the  Court ! 

RABBI.  If  Pilate  would  hear  the  voice  of  the 
people,  he  shall  hear  it! 

CAIAPHAS.  He  shall  hear  it  — the  united  cry  of 
a  Nation :  "  Release  BaraSbas,  to  the  cross  with  the 
Galilean!" 

ALL.  Release  Barabbas!  To  the  cross  with  the 
Galilean!  [Exit. 

FOURTH    SCENE 

Christus  is  undressed,  His  hands  tied  to  a  short  post,  and 
around  Him  the  soldiers. 

CASPIUS.  Now  He  has  had  enough!  He  is  quite 
dripping  with  blood ! 

10  [  145 1 


DOMITIUS.  You  pitiable  King  of  the  Jews!  Ha, 
ha,  ha! 

SABINUS.  But  what  kind  of  a  king  is  this?  He 
holds  no  sceptre  in  His  hand,  He  wears  no  crown  upon 
His  head! 

DOMITIUS.  What  is  not,  may  yet  be  easily 
remedied. 

CASPIUS.  Hold,  I  will  fetch  immediately  the  in- 
signia of  a  king.  [Exits. 

MILO.    You  will  now  in  truth  be  a  king ! 

SABINUS.  Patience,  my  Lord ;  just  a  little  while 
and  you  shall  be  a  king. 

CASPIUS  (returning  with  a  scarlet  mantle,  a  crown 
of  thorns,  and  a  reed).  Here!  This  is  assuredly  a 
most  appropriate  attire  for  a  King  of  the  Jews !  Is  it 
not  true  that  you  have  expected  such  an  hour  as  this? 
Come,  let  us  hang  this  royal  robe  upon  you. 

SABINUS.  But  sit  down.  A  king  should  not 
stand ! 

MILO.  And  here  a  royal,  spiked  crown!  (Forces 
it  upon  His  head.)  King  of  the  Jews,  let  us  see  you ! 
[General  laughter. 

DOMITIUS.  But  that  it  may  not  fall  from  your 
head,  we  must  set  the  crown  firmly.  Lay  hold, 
Brothers,  help  me !  [Four  soldiers  seize  the  ends  of  two 
rods,  and  press  therewith  upon  the  crown.  Christus  quivers 
in  pain. 

SABINUS.  And  here  is  the  sceptre!  Now  you 
need  nothing  more! 

[146] 


CASPIUS.  What  a  king!  (Kneeling  before  Him.*) 
Hail  to  Thee,  most  mighty  King  of  the  Jews,  —  ha, 
ha,  ha! 

QUINTUS  (the  servant  of  Pilate,  entering).  The 
Prisoner  must  be  brought  immediately  to  the  Court! 

SABINUS.  You  arrive  inopportunely.  You  inter- 
rupt our  homage. 

CASPIUS.  But  we  shall  come  on  the  instant. 
[Quintus  exits. 

MILO.  Stand  up!  We  will  lead  you  around  as  a 
spectacle. 

SABINUS.  There  will  be  jubilation  among  the 
Jews  when  their  King  appears  before  them  in  such 
splendour. 

CASPIUS.  Take  Him;  we  cannot  delay!  [They 
exit  ^with.  Christus. 

END   OF   ACT 


XIV.    REPRESENTATION 

Jesus  condemned  to  Death  on  the  Cross 
Prologue 

Behold  the  abject  figure  of  the  Lord! 
Pilate  himself,  with  pity  touched,  protests! 
Have  you  no  mercy,  you  deluded  folk? 

No,  for  in  madness  they  still  cry, 

"  The  cross  for  Him  —  to  torture  and  to  death ! 

And  then  they  shout :  "  Barabbas  must  be  free !  " 

[147] 


How  differently  in  Egypt  Joseph  stood, 
While  songs  of  exultation  people  raised  — 
As  Saviour  of  the  land  was  he  proclaimed ! 

But  round  the  Saviour  of  the  world  there  beats 
The  fury  of  a  blinded  Nation's  rage, 
Which  stays  not  till  the  Judge  bids  crucify. 

Ah,  see  the  King,  behold  how  He  is  scorned! 

Behold  Him  crowned,  alas,  with  such  a  crown, 

And  such  a  sceptre  held  within  His  hand! 

Upon  His  shoulders  they  have  purple  hung, 

In  tattered  folds  to  please  the  hangman's  mood ! 

Is  such  a  festive  robe  designed  for  kings? 

Ah,  what  a  Man ! 

Where  lurks  divinity  in  such  a  garb? 

Ah,  what  a  Man ! 

Divinity  is  made  a  plaything  of  the  hour! 

TABLEAU :  /.  Joseph  is  presented  to  the  people  as  ruler. 
Gen.  41 :  41.  As  Joseph  was  set  free  from  prison  and 
was  raised  to  the  throne  of  the  Egyptians  as  the  Saviour 
of  the  Land,  so  Jesus  rose  from  the  grave  and  estab- 
lished Himself  as  the  world's  Saviour.  The  tableau 
symbolises  the  manner  in  which  the  Jews-  preferred  the 
murderer,  Barabbas,  to  Christus. 

CHORUS.    "  Behold  what  a  Man ! " 

'Twas  in  compassion  thus  that  Pilate  cried. 

Behold,  what  a  Man! 

A  shout  of  joy  was  that  which  Joseph  heard ! 

Through  Egypt  shall  the  tidings  now  go  forth, 
"  Long  life  to  Joseph,  honour  be  to  him ! " 
A  thousand-fold  shall  it  be  made  to  sound! 
Father,  Protector,  and  Defender  is  he! 
Let  all  unite  in  happy  exultation! 
Father  of  Egypt  —  thus  was  Joseph  hailed ! 
[148] 


SOLO.    The  eyes  of  Egypt  rest  upon  thee! 
As  Saviour  Egypt  long  shall  praise  thee! 
On  thee  they  now  will  all  their  trust  bestow, 
To  thee  they  will  their  homage  fender  — 
Through  Egypt  shall  it  be  proclaimed!     [Rep. 

TABLEAU:  2.  The  symbol  of  the  t<wo  kids,  one  of 
which  is  lei  go,  the  other  of  'which  is  killed  for  the 
sins  of  the  people.  Lew.  16 : 7, 

SOLO.  The  ancient  covenant  the  Lord  demanded  — 
Two  goats  —  and  one  for  sacrifice  was  chosen. 

CHORUS.  Jehovah,  Lord !  because  we  spill  this  blood, 
Be  Thou  unto  Thy  people  good  again ! 

SOLO.  No  more  the  blood  of  goats  the  Lord  will  have, 
But  purity  must  mark  the  sacrifice. 

CHORUS.    From  every  stain  the  sacrifice  must  be, 
And  pure  the  emblem  also  which  they  raise! 
The  Lord  would  have  the  first-born  of  the  flock ; 
Already  are  the  cries  of  vengeance  heard ; 
The  Lamb  will  rise  and  fall  and  rise  again! 

PEOPLE  (behind   the  curtain).    Let  Barabbas  be 
From  fetters  free! 

CHORUS.    No,  no!  't  is  Jesus  must  be  free! 

How  wild,  alas,  it  sounds  —  the  murderer's  cry ! 

PEOPLE  (behind   the    curtain).    To  the  cross,  to  the 

cross, 
To  the  cross  with  Him! 

CHORUS.    Ah,  look  on  Him! 
Ah,  look  on  Him! 
What  evil  has  He  done! 
[149] 


PEOPLE    (Mind  the    curtain).      If  you  release  this 

wicked  Man, 
Then  are  you  no  more  Caesar's  friend ! 

CHORUS.    Jerusalem!    Jerusalem! 

The  blood  of  Jesus  will  the  Lord  avenge ! 

PEOPLE    (behind    the    curtain).      Upon  us  and  our 
children  let  it  fall ! 

CHORUS.    Then,  let  it  be  indeed  upon  you  all! 


ACT  XIV 

Pilate  brings  the  scourged  and  thorn-crowned  Christus  be- 
fore the  people,  'who  demand  His  death  and  the  release 
ofBarabbas.  Pilate's  former  resoluteness  wavers,  and 
he  frees  Barabbas,  at  the  same  time  pronouncing  upon 
Jesus  the  sentence  of  death. 

FIRST    SCENE 

(According  to  Schroder  and  Trench,  these  directions:)  From 
three  sides,  representing  as  many  streets  in  Jerusalem, 
come  three  groups  of  shouting  people,  headed  by  Priests 
and  Pharisees.  Nathanael  and  Ezekiel  to  the  right  and 
left;  while  in  the  midst  of  the,  centre  group  stand 
Caiaphas  and  Annas.  The.  priests  inflame  the  crowd 
'which  stretches  far  back  of  the  scene.  The  groups  come 
together  in  one  mob,  crying  to  Pilate,  amidst  threats,  for 
the  release  of  Barabbas  and  the  death  of  Christus* 

NATHANAEL.     Moses,  your  Teacher,  calls  upon 
you.    His  holy  Law  cries  out  to  you  for  vengeance! 

*  See  also  text  of  Daisenberger,  ed.  1890,  p.  163. 
[ISO] 


PEOPLE  A.  We  are  and  shall  always  be  the  fol- 
lowers of  Moses.  We  will  have  naught  to  do  with 
any  other  teacher! 

PEOPLE  B.  We  are  faithful  to  our  Priests !  Away 
with  any  who  would  rise  against  them! 

PEOPLE  C.  You  are  our  Fathers,  as  heretofore. 
We  answer  for  your  honour. 

ANNAS.  Come,  children,  throw  yourselves  into 
the  arms  of  the  Sanhedrin.  Let  it  protect  and  serve 
you! 

EZEKIEL.  Shake  it  off —  shake  it  off  — the  yoke 
of  the  Deceiver! 

PEOPLE  D.  We  would  be  free,  free  of  this  false 
Teacher;  we  would  have  nothing  more  to  do  with 
Him  —  this  Nazarene! 

PEOPLE  A.    The  people  applaud  you ! 

THE  FOUR  RINGLEADERS  (Caiaphas,  Annas, 
Nathanael,  Ezekiel).  The  God  of  your  Fathers  will 
receive  you  again  into  His  favour.  Once  more  you  are 
to  Him  a  holy  People ! 

ALL.  In  you  we  recognise  our  truest  friends.  Long 
live  the  holy  Sanhedrin!  Long  live  our  Teachers,  our 
High  Priest ! 

ANNAS.    And  death  to  the  Galilean! 

CAI APH AS.    Up !    Let  us  hasten  to  Pilate ! 

ALL.    Away  to  Pilate!    The  Nazarene  shall  die! 

CAI  APH  AS.  He  has  falsified  the  Law!  He  has 
defied  Abraham,  Moses,  and  the  Prophets;  He  has 
blasphemed  God! 

[151] 


ALL.    To  death  with  this  false  Prophet ! 

PEOPLE  B.    Death  on  the  cross! 

PEOPLE  C,  D.    Pilate  must  have  Him  crucified! 

NATHANAEL.  On  the  cross  He  shall  expiate  His 
crimes. 

PEOPLE  B,  C.  We  shall  not  rest  until  the  sen- 
tence is  given.  [The  crowds  flaw  toward  the  background. 

CAIAPHAS  (leading  the  mob  by  look  and  gesture). 
Hail  to  you,  Children  of  Israel!  You  are  indeed  still 
the  true  descendants  of  the  holy  father  Abraham.  Oh, 
exult  that  you  have  escaped  the  unspeakable  ruin  that 
this  Deceiver  would  have  brought  upon  you  and  your 
children ! 

ANNAS.  The  ceaseless  efforts  of  your  Fathers  have 
kept  the  Nation  from  the  abyss. 

ALL.  Long  live  the  High  Council!  Death  to  the 
Nazarene ! 

PRIESTS.  Curse  him  who  does  not  aid  in  His 
death! 

ALL.    We  demand  His  death! 

CAIAPHAS.  Let  Him  be  cast  out  from  the  heri- 
tage of  our  Fathers! 

ALL.    Let  Him  be  cast  out! 

CAIAPHAS.  Pilate  will  give  you  the  choice  be- 
tween this  Blasphemer  and  Barabbas.  Let  us  stand 
resolute  for  the  release  of  Barabbas ! 

ALL.  Let  Barabbas  be  free!  And  down  with  the 
Nazarene ! 

[is*] 


ANNAS.  You  Fathers!  Be  praised!  Our  wishes 
are  heard! 

ALL.  Pilate  must  give  his  consent!  It  is  the  will 
of  the  Nation ! 

CAIAPHAS.  Most  glorious  day  for  the  people  of 
Israel!  Children,  be  firm! 

PRIEST.  This  day  restores  honour  to  the  Syna- 
gogue and  freedom  to  the  people. 

CAIAPHAS  (as  they  draw  near  to  Pilate's  house). 
Now,  let  us  demand  the  death  sentence,  let  us  threaten 
Him  with  general  riot. 

ALL  (tttmultttously)  -  We  demand  the  death,  the 
blood  of  our  Enemy ! 

SOLDIER  (coming  through  the  door).  Tumult  and 
insurrection ! 

ALL.    The  Nazarene  shall  die! 

CAIAPHAS.  Show  courage!  Remain  undaunted! 
A  righteous  cause  protects  us! 

ALL.    Pilate,  pronounce  the  death  sentence ! 

POMPONIUS  (Pilate's  servant,  on  the  balcony). 
Quiet!  Peace! 

ALL.  No,  we  will  not  rest  until  Pilate  has  given 
the  death  sentence ! 

POMPONIUS.  Pilate  will  come  immediately. 
[Exits. 

ALL.    We  demand  the  death  of  the  Nazarene ! 

CAIAPHAS  (to  the  Priests).  Now  may  Pilate 
learn  the  temper  of  the  people,  as  he  wished ! 

[153] 


SECOND    SCENE 

The  foregoing.  Pilate  and  his  attendants  come  on  to  the 
balcony.  The  thorn-crowned  Christus  is  likewise  led 
forward  by  two  soldiers. 

ALL.  Now  judge  you,  and  pronounce  the  sentence 
upon  Him. 

PILATE  (pointing  to  Jesus).     Behold,  what  a  man! 

PRIESTS  AND  PHARISEES.  To  the  cross  with 
Him!  To  the  cross! 

PILATE.  Can  this  pitiable  plight  win  no  com- 
passion from  your  hearts? 

ALL.     Let  Him  die!    To  the  cross  with  Him! 

PILATE.  Then  take  Him,  and  crucify  Him  at  your 
own  peril !  I  will  have  nothing  to  do  with  it,  for  I  find 
no  fault  in  Him. 

CAIAPHAS.  Hear,  O  Governor  of  the  mighty 
Emperor,  hear  the  voice  of  the  people !  Behold,  it  ac- 
cords with  our  feeling,  and  calls  for  His  death. 

PEOPLE.     Yes,  we  demand  His  death! 

PILATE  (to  the  soldiers).  Lead  Him  down!  and 
bring  Barabbas  hither  from  prison!  Have  the  gaoler 
hand  Him  over  immediately  to  the  head  lictor. 

ANNAS.  Let  Barabbas  live!  Upon  the  Nazarene 
pronounce  the  sentence  of  death! 

ALL.    To  death  with  the  Nazarene ! 

PILATE.  I  do  not  understand  these  people!  A 
few  days  back,  shouting  in  approval  and  for  joy,  they 

[154] 


followed  this  Man  through  the  streets  of  Jerusalem. 
Is  it  possible  that  to-day  these  self-same  people  cry 
death  and  destruction  upon  Him?  It  is  contemptible 
vacillation ! 

CAIAPHAS.  The  good  people  have  at  last  come 
to  see  that  they  have  been  deceived  by  an  adventurer 
who  has  presumed  to  call  Himself  the  Messiah,  the 
King  of  Israel. 

NATHANAEL.  Now  the  eyes  of  these  people! 
have  opened  wide,  and  they  see  how  He  cannot  help 
Himself,  —  He  who  promised  to  bring  freedom  and 
happiness  to  the  Nation. 

EZEKIEL.  Israel  will  have  no  Messiah  who  al- 
lows Himself  to  be  caught  and  bound  and  treated 
with  such  scorn ! 

PEOPLE.  Death  to  the  false  Messiah!  To  the 
Cheat! 

PILATE.  Listen,  men  of  Judaea !  It  is  customary 
for  me  to  free  a  prisoner  on  the  Feast  day.  Behold 
these  two:  the  one  with  gentle  countenance,  worthy 
bearing,  the  ideal  of  a  wise  teacher  whom  you  have 
long  honoured  as  such,  convicted  of  no  wicked  deed, 
and  already  humbled  through  sore  chastisement;  the 
other  a  culpable,  lawless  man,  a  convicted  robber  and 
murderer!  I  appeal  to  your  better  judgment,  to  your 
human  sympathy.  Choose!  Which  would  you  that 
I  should  let  go,  Barabbas,  or  Jesus,  the  Christ  so 
called? 

PEOPLE.    Free  Barabbas! 

PILATE.  Would  you  not  rather  that  I  should 
liberate  the  King  of  the  Jews? 

[155] 


PEOPLE.    Away  with  Him!    Set  Barabbas  free! 

CAIAPHAS.  You  have  promised  to  give  freedom 
to  him  whom  the  people  chose. 

PILATE  (to  Caiaphas).  I  am  accustomed  to  keep 
my  promise  without  needing  a  reminder!  (To  the 
Crowd.)  What  shall  I  then  do  with  this  King  of  the 
Jews? 

PRIESTS  AND  PEOPLE.  Crucify  Him!  Crucify 
Him! 

PILATE.    How?    Shall  I  crucify  your  King? 
PRIEST.    We  have  no  king,  —  only  an  Emperor! 

CAIAPHAS.  As  Governor,  you  alone  are  answer- 
able for  the  consequences. 

PILATE.  No!  I  cannot  condemn  this  Man,  for 
I  find  in  Him  no  guilt.  He  has  been  sufficiently  dis- 
ciplined. I  cannot,  I  dare  not,  condemn  the  guiltless! 

PRIESTS.*  If  yau  release  Him,  then  you  are  no 
friend  of  the  Emperor. 

CAIAPHAS.    He  proclaimed  Himself  King! 

PRIESTS.  And  whosoever  proclaims  Himself 
King  is  a  traitor  to  the  Emperor! 

NATHANAEL.  And  shall  this  rebel  remain  un- 
punished, and  be  allowed  to  continue  scattering  abroad 
the  seeds  of  His  heresy? 

PEOPLE.  It  is  the  Governor's  duty  to  get  rid  of 
Him! 

CAIAPHAS.  We  have  done  our  part  as  subjects 
of  the  Caesar,  for  we  have  delivered  this  Agitator  to 

*  Parts  of  the  following  are  omitted  in  some  editions  of  the  text. 
[156] 


you.    If  you  do  not  heed  our  accusations,  and  the  de- 
mands of  the  people,  then  we  are  free  from  all  blame. 

ANNAS.  If  general  insurrection  results  on  account 
of  this  Man,  then  we  shall  know  who  is  to  blame,  who 
should  be  made  to  bear  the  guilt  of  it,  and  we  shall 
take  care  that  the  Emperor  is  told  of  it ! 

PEOPLE.    The  Caesar  shall  hear  of  the  matter! 

EZEKIEL.  In  astonishment,  the  people  in  Rome 
will  hear  that  the  Governor  has  taken  under  his  pro- 
tection a  person  guilty  of  high  treason  —  a  person 
whose  death  was  demanded  by  all  of  us. 

PEOPLE.  You  must  crucify  Him,  else  there  will 
be  no  peace  in  the  land! 

PILATE.    Why,  what  evil  has  He  done? 

CAIAPHAS.  Allow  me  to  ask  a  question.  Why 
should  you  take  such  care  in  judging  this  man?  Quite 
recently,  because  of  a  few  seditious  outcries,  you  had 
hundreds,  in  groups  and  singly,  massacred  by  your 
soldiers  without  trial,  without  sentence.  [Pilate  starts. 

PEOPLE.  You  dare  not  befriend  this  One  now,  if 
you  are  a  true  servant  of  the  Emperor! 

PILATE  (in  agitation).    Bring  me  water! 

CAIAPHAS.  The  people  will  not  leave  here  until 
you  have  pronounced  the  death  sentence. 

PEOPLE.  No,  we  will  not  go  until  the  death  sen- 
tence is  given! 

PILATE.  Thus  you  compel  me  through  your  vio- 
lence to  consent  to  your  demands.  Take  Him  away 
and  crucify  Him ;  but  know  ( makes  a  gesture) :  I 

[157] 


wash  my  hands  of  it.  I  will  not  be  guilty  of  the  blood 
of  this  innocent,  this  righteous  Man.  You  must  an- 
swer for  it! 

PEOPLE.  We  take  it  upon  ourselves.  His  blood 
upon  us  and  our  children! 

PILATE.  Let  Barabbas  go  free  according  to  the 
will  of  the  people.  Lead  him  away  —  outside  the  city 
gate,  that  he  may  nevermore  set  foot  therein. 

HEAD  LICTOR.  Take  him  away  and  follow  me! 
[Soldiers  lead  Barabbas  away. 

PRIESTS  (to  Pilate).  Now  you  have  judged 
rightly ! 

PILATE.  I  have  only  yielded  to  your  violent  pres- 
sure, so  as  to  prevent  any  greater  evil.  But  I  will 
have  no  share  in  the  blood-guilt.  His  blood  —  let  it 
fall  upon  you  and  your  children! 

PEOPLE.    Well,  let  it  be  so. 

ANNAS.  We  and  our  children  will  bless  the  day, 
and  cry  out  with  thanksgiving  and  joy:  Fortune  and 
happiness  to  the  Governor,  Pilate!  Long  live  Pilate! 

PEOPLE.    Long  live  our  Governor,  Pontius  Pilate ! 

PILATE.  Bring  forth  the  two  murderers  who  are 
in  prison.  They  have  deserved  death  more,  very  much 
more  than  the  Accused  here.  Let  the  head  lictor  hand 
them  over  to  the  guard. 

HEAD  LICTOR*  (with  the  murderers,  at  first  off- 
stage). Will  you  not  move  on,  you  rogues? 

HANGMAN.  Have  you  not  merited  this  for  some 
time? 

*  These  few  speeches  are  omitted  by  Stead. 
[158] 


HEAD  LICTOR.  Drive  them  on,  the  infamous 
pair!  [They  come  into  view* 

RABBI.  Ei!  Behold!  What  a  worthy  company 
yonder  for  the  Messiah  on  His  last  journey ! 

PILATE.  Now  let  the  death  sentence  be  known. 
(To  the  Scribes  who  have  been  'writing  steadily  during 
the  time  the  hangman  and  head  lictor  were  driving  the 
thieves  forward.  Then  turning  to  the  thieves.)  Of  you 
and  your  horrible  deeds,  the  earth  shall  be  well  rid 
to-day.  You  are  to  die  on  the  cross !  (  To  the  Scribes.) 
Read  on! 

SCRIBE.  I,  Pontius  Pilate,  Governor  of  the  prov- 
ince of  Judaea,  and  under  the  mighty  Emperor,  Clau- 
dius Tiberius,  pronounce,  in  accordance  with  the  im- 
portunate clamours  of  the  High  Priests,  the  Sanhedrin, 
and  all  the  people  in  Judaea,  the  sentence  of  death 
upon  one  Jesus  of  Nazareth,  so  known,  who  stands 
accused  of  having  incited  the  people  to  rebellion,  of 
having  forbidden  them  to  pay  tribute  to  the  Emperor, 
and  of  having  proclaimed  Himself  King  of  the  Jews. 
This  same  Jesus  shall,  outside  the  city  walls,  be  cru- 
cified between  two  evil-doers,  who,  because  of  many 
robberies  and  murders,  have  likewise  been  condemned 
to  die.  Done  at  Jerusalem,  on  the  eve  of  the  Passover. 

PILATE  (breaking  the  staff).  Now,  take  Him  away 
and  — crucify  Him!  [Exits  hastily. 

CAIAPHAS.  Victory!  The  triumph  is  ours!  The 
Enemy  of  the  Synagogue  is  overthrown! 

ALL  (Priests  and  people)'  Away  with  Him  to  Gol- 
gotha! Long  live  the  Synagogue!  Long  live  Moses 
and  the  Nation! 

ANNAS.    Hasten,  that  we  may  return  home  in  time ! 
[159] 


ALL.  We  will  keep  this  Passover  joyfully,  even  like 
our  Fathers  in  Egypt! 

CAIAPHAS.  Let  us  triumph  through  the  streets 
of  Jerusalem! 

RABBI.  Where  are  the  friends  of  the  Nazarene  — 
His  Disciples?  They  are  invited  to  join  in  the  tri- 
umph—  to  cry  Hosanna! 

PEOPLE  (crying  as  they  go).  Up  and  away!  — 
Off  to  Golgotha!  —  Come  and  see  Him  as  He  faints 
on  the  cross !  Oh,  happy  day !  The  Enemy  of  Moses 
is  overthrown !  —  Ha !  Now  He  has  His  reward !  — 
Thus  let  it  be  done  to  every  one  who  defies  the  Law! 
He  deserves  death  on  the  cross !  —  Oh,  most  happy 
Passover!  Now  joy  will  return  unto  Israel!  It  is  all 
over  with  the  Galilean!  [Exit  tumultuously. 

END   OF   ACT 
END   OF   SECOND   DIVISION 


[160] 


THIRD   DIVISION 

From  the  Condemnation  by  Pilate  until  the  Glorious 
Resurrection  of  the  Lord 

XV.    REPRESENTATION 

The  Way  to  the  Cross 

Prologue,  * 

The  sentence  has  been  forced,  and  now  they  go 
Unto  Golgotha,  called  the  Mount  of  Skulls, 
While  Jesus  staggers,  burdened  with  the  cross. 

'T  was  thus  that  Isaac  on  his  shoulders  bore 
The  sacrificial  wood  unto  the  heights 
Where  he  himself  as  offering  was  doomed. 

So,  willingly,  the  weight  does  Jesus  bear, 

The  cross  which  through  the  power  of  His  love 

Shall  for  us  come  to  mean  the  Tree  of  Life. 

For,  as  the  brazen  serpent  long  ago 
Did  once  bring  healing  in  the  wilderness, 
So  from  the  cross  will  happiness  be  born. 

TABLEAUX 

CHORUS.    Worship  and  give  thanks,  for  He  who 

from  the  Cup 

Partook  of  Sorrow  goes  unto  His  death, 
And  seeks  thereby  to  reconcile  the  world  with  God! 

*  In   its   verses  the   Passion  Play  is  least   original;   there  is   a 
prosaic  repetition  which  has  not  even  the  excellence  of  good  para- 
phrasing.    This  is  in  part  hidden  by  the  music. 
II  [161] 


/*  Isaac,  dedicated  to  the  sacrifice,  ascends  Mount  Moriah, 
laden  with  wood.  Gen.  22 : 1-10.  So,  likewise, 
Chrisius  ascends  Cafoary,  carrying  the  heavy  wooden 
cross. 

SOLO.     As  the  wood  for  offering 
Was  carried  once  by  Isaac  to  Moriah, 
So,  staggering  with  the  cross, 
Jesus  toward  Golgotha  laden  goes! 

CHORUS.    Worship  now! 

2.  Moses  raises  a  brass  moulded  serpent  upon  a  cross-Bar. 
Num.  21 :  8-19.  The  brazen  serpent  is  a  symbol  of 
the  crucifixion  of  Christ.  Every  one  is  aided  by 
sight  of  the  serpent  raised  by  Moses.  Christus  will 
be  raised  on  the  cross,  and  he  who  gazes  upon  Him 
will  be  healed  of  a  'wounded  soul. 

CHORAGUS  (Recit.).    The  Son  of  Man  is  nailed 

unto  the  cross, 
And  will  be  raised  on  high! 
The  symbol  of  the  cross  in  Moses*  rod 
You  now  shall  see. 

CHORUS.    Worship,  worship! 


[162] 


ACT  XV 

Christus,  bowed  down  by  the  weight  of  the  cross,  is  led 
toward  Golgotha,  and  meets  His  afflicted  Mother. 
Simon  of  Cyrene  is  forced  to  take  the  cross  from  Him; 
some  women  of  Jerusalem  weep  for  Jesus* 


FIRST    SCENE 

The  Holy  Women,  with  John  and  Joseph  of  Arimathaea, 
on  their  Way  from  Bethany 

MARY  (to John).  John!  Alas,  dear  Disciple !  How 
do  you  think  it  has  gone  with  my  Jesus  since  you  saw 
Him  last  in  the  house  of  Caiaphas? 

JOHN.  If  the  Priests  could  do  as  they  would,  then 
already  would  He  be  counted  among  the  dead.  But 
they  dare  not  carry  out  the  sentence  without  per- 
mission from  the  Governor.  And  Pilate,  I  hope,  will 
not  condemn  Him,  since  He  has  done  no  evil,  but  only 
good  always. 

MAGDALENE.  May  the  Almighty  prompt  the 
heart  of  the  Governor  to  righteousness,  that  he  may 
protect  the  innocent  from  intrigue  and  malice ! 

MARY.  Whither  do  we  go,  friends,  ah,  whither? 
That  I  may  once  more  see  my  Son?  I  must  see  Him! 
Yet  where  shall  I  find  Him?  Perhaps,  alas,  He  lan- 
guishes in  a  dark  prison ! 

MAGDALENE.    Woe !    The  dearest  of  Teachers  in 


prison ! 


[163] 


JOHN.  No  one  is  to  be  seen  from  whom  we  might 
inquire. 

JOSEPH.  The  best  thing  for  us  to  do  is  to  go  to 
Nicodemus;  from  him  we  shall  assuredly  learn  how 
it  passes  with  the  dear  Master. 

MARY.  Yes,  let  us  go  there !  My  sorrow  and  my 
doubt  as  to  the  fate  of  my  Son  increase  with  every 
moment. 

JOHN.  Come,  our  Mother,  be  strong  in  your  be- 
lief! Whatever  happens  —  it  is  God's  will.  [The  cry, 
"On,  on  with  Html"  is  heard  in  the  distance.  The 
crowd  drives  Jesus  forward,  and  He  sinks  beneath  His  load. 

JOSEPH.    What  is  that?  — that  terrible  noise? 

SALOME.  As  though  a  thousand  voices!  What 
does  it  mean?  [They  listen  intently. 

SECOND    SCENE 

The  Procession  of  the  Cross-bearing.  Priests,  Pharisees, 
people,  soldiers  moving  through  the  Street  of  Annas. 
The  scene  is  one  of  motion.  A  captain,  'with  his  staff 
of  command;  a  horseman,  with  a  Roman  banner. 
Christus  painfully  drags  the  cross,  four  executioners 
close  behind  Him. 

PEOPLE.  Away  with  Him!  He  dies,  and  all  who 
hold  with  Him  must  give  way! 

AGRIPPA  (executioner).  Oho!  Is  the  burden  al- 
ready too  heavy  for  you? 

PRIESTS  AND  PHARISEES.  Drive  Him  on  by 
force,  that  we  may  reach  Calvary! 

[164] 


FAUSTUS  (executioner).  Stop,  He  will  sink! 
[Meanwhile  the  group  in  Pilaie  Street  are  still  in  ignorance 
as  to  ^what  is  the  matter. 

JOSEPH.  What  shall  we  do?  Amidst  this  sinister 
crowd  of  people  we  dare  not  risk  ourselves  within  the 
city. 

SALOME.    I  tremble! 

MAGDALENE.     What  may  this  noise  mean? 
MARY.    Has  it  aught  to  do  with  my  Son? 
JOSEPH.    A  riot  seems  to  have  broken  forth. 

JOHN.  We  will  remain  here  until  the  storm  has 
blown  over. 

SIMON  OF  CYRENE  (bearing  a  basket,  comes  has- 
tily and  uneasily  from  middle  stage  to  front).  I  must 
hasten  that  I  may  reach  the  city,  for  the  eve  of  the 
great  Feast  advances.  I  have  only  a  short  while  in 
which  to  purchase  the  necessities  and  to  make  ready 
all  things,  so  that  I  may  return  home  in  time. 

PRIESTS  AND  PEOPLE  (as  yet  unseen  by 
Simon).  Don't  let  Him  rest!  On!  Drive  Him  for- 
ward with  blows! 

SIMON.  I  hear  noises  —  the  cry  of  men:  what 
could  have  happened  in  the  city?  I  will  remain  here 
for  a  little;  perhaps  my  ear  has  deceived  me. 

CATILINA  (executioner).  It  is  of  no  use  to  waver! 
(Speaking  to  Cbristus.)  You  must  move  on  toward 
Golgotha. 

AHASUERUS  (rushing  out  of  his  house,  to  Simon). 
Away  from  here !  This  is  no  place  for  rest ! 

[165] 


SIMON.  The  noise  grows  louder.  I  must  hurry 
and  see  what  it  is.  Ah!  what  is  yonder?  I  cannot 
go  into  that.  I  will  await  the  issue.  [He  moves  toward 
Annas  Street. 

THIRD    SCENE 

The  procession,  'With  Christus,  finally  comes  into  'view. 
Meanwhile,  from  the  depth  of  the  middle  stage,  Veronica 
and  the  'women  of  Jerusalem  draw  near. 

JOSEPH.  I  believe  the  multitude  is  coming  from 
the  city  gates. 

JOHN.  It  looks  as  though  some  one  were  being 
led  toward  Calvary  for  execution. 

MARY  (discovering Jesus}*  Ah,  God!  It  is  He! 
It  is  my  Son !  My  Jesus !  [Her  companions  support  her* 

CENTURION  (to  Jesus,  'who  has  thus  far  staggered 
along,  but  now  has  fallen).  He  holds  us  back.  Here, 
strengthen  yourself !  [Hands  a  flask.  Jesus  takes  it,  but 
does  not  drink. 

JOHN,  MAGDALENE,  SALOME  (holding  Mary). 
Mother,  dearest  Mother! 

MARY.  Alas,  thus  do  I  see  Him  being  led  to  His 
death,  like  a  miscreant  between  evil-doers! 

JOHN.  Mother!  It  is  the  hour  which  He  prophe- 
sied. Such  is  the  will  of  the  Father! 

CENTURION.    Will  you  not  drink? 
PHARISEES.    Drive  Him  on! 

NERO  (executioner,  striking  and  shaking  Jesus). 
Stir  yourself  —  you  lazy  King  of  the  Jews! 

[166] 


FAUSTUS.  On,  on!  Pull  yourself  together!  We 
must  get  on! 

MARY.  Oh,  where  is  the  sorrow  equal  to  my 
sorrow ! 

CATILINA  (as  Jesus  stagers).  He  is  so  very 
weak.  Some  one  must  help  Him,  else  — 

RABBI  (pointing  to  Simon)-  Here,  that  stranger 
yonder ! 

PHARISEES.     Lay  hold  on  him! 

CENTURION  (captain)-  Come  here,  you!  You 
have  broad  shoulders  for  carrying! 

SIMON.    I?     No  —  I  must  —  I  — 

NERO.  Certainly  you  must,  or  be  beaten  into 
doing  it ! 

SIMON.     I  know  not  — 

CENTURION.  You  will  know  soon  enough;  do 
not  refuse ! 

FAUSTUS.  If  you  do,  you  shall  come  to  feel  the 
strength  of  my  arm ! 

PHARISEES.     Strike  him,  if  he  refuses. 

SIMON.  I  am  indeed  innocent,  I  have  done  no 
crime ! 

CENTURION.    Be  silent! 

SIMON  (being  dragged  along)-  Not  with  such 
force!  (Seeing  Christus.)  What  do  I  behold?  Yon- 
der is  the  holy  Man  from  Nazareth. 

[167] 


FAUSTUS.  Your  shoulders  here!  [They  take  the 
cross  from  Jesus  and  put  it  upon  Simon,. 

SIMON.  Out  of  love  for  you  will  I  carry  it.  Oh, 
if  I  only  could  thereby  make  myself  of  use  to  you ! 

CHRISTUS  (standing  to  one  side,  exhausted). 
God's  blessing  upon  thee  and  thine! 

CENTURION.  Now,  forward!  (To  Simon.)  Fol- 
low us  with  the  cross-beam ! 

AGRIPPA  (to  Christus)  •  Now  you  can  move  along 
more  rapidly. 

FAUSTUS  (laying  hold  of  Jesus  by  the  nape  of  the 
neck  and  shaking  Him).  Something  still  keeps  you 
back?  Even  though  the  cross  has  been  taken  from 
you? 

CATILINA.    Are  you  still  further  in  need? 

CENTURION.  Let  Him  be.  We  will  rest  now  for 
a  while,  so  that  He  may  have  time  to  recover  before 
He  climbs  the  hill  of  death  —  to  Calvary.  [Veronica 
and  the  women  ofjtrusalem  draw  near. 

CAIAPHAS.  Another  delay!  When  shall  we  ever 
come  to  Calvary?  Make  haste! 

VERONICA  (kneeling  before  Jesus  and  offering 
Him  her  handkerchief)-  Oh,  Lord,  how  your  face  is 
covered  with  blood  and  sweat !  Will  you  not  take  my 
handkerchief  and  wipe  it  dry? 

CHRISTUS  (taking  the  cloth  from  her,  and,  after 
making  use  of  U,  returning  it).  Compassionate  Soul, 
the  Father  will  requite  thee  for  this ! 

[168] 


SARA  (three  women  draw  near  with  their  Uttk 
ones) .  Our  good  Teacher ! 

REBECCA.    Oh,  never  to  be  forgotten  Benefactor! 

SUSANNA.  Most  noble  Friend  of  mankind!  Alas, 
thus  are  you  rewarded! 

REBECCA.    How  we  pity  you!     [ They  weep. 

CHRISTUS.  Daughters  of  Jerusalem,  do  not  weep 
over  me,  but  weep  ye  over  yourselves  and  your  chil- 
dren! For  behold,  I  say  unto  you:  The  days  are 
coming  in  which  they  shall  say:  Blessed  are  the  bar- 
ren and  the  wombs  that  never  bear,  and  the  breasts 
that  have  never  given  suck.  Then  will  they  call  aloud 
to  the  mountains :  Fall  upon  us ;  and  to  the  hillocks : 
Shelter  us!  For  if  that  is  done  in  the  green  wood, 
what  will  be  done  in  the  dry? 

RACHEL.  Alas,  how  will  it  come  to  pass  in  the 
future  for  us  and  for  our  children?  [  The  women  weep. 

CENTURION.  Remove  these  womenfolk!  It  is 
time  for  us  to  go  forward. 

AGRIPPA.    What  use  are  your  tears?    Back! 
CATILINA.    Back! 

FAUSTUS,  NERO  (to  Christtts).  Away  with  you 
to  the  hill  of  death ! 

PEOPLE.    Quickly  —  forward  to  Calvary! 
RABBI.    At  last  we  are  moving! 

NATHANAEL.    The  Centurion  is  much  too  mild. 
[169] 


PRIEST.     Don't   spare   Him  anything!    [The  pro- 
cession is  in  motion  when  the  servant  of  Pilate  arrives. 


FOURTH    SCENE 

SERVANT.  Stop !  It  is  the  command  of  the  Gov- 
ernor that  the  Centurion  appear  before  him  as  quickly 
as  possible  to  obtain  further  orders.  [  The  procession 
stops. 

CAIAPHAS.  What  does  this  mean?  Why  new 
orders?  The  death  sentence  has  been  pronounced  and 
must  be  executed  without  delay. 

CENTURION  (severely).  No,  it  will  not  be  until 
I  have  heard  the  commands  of  the  Governor !  (To  the 
soldiers.)  Keep  guard  meanwhile,  and  proceed  with 
the  condemned  to  Golgotha.  Then  (pointing  to  Simon) 
dismiss  this  man,  and  await  my  return.  [Exits  'with 
the  servant.  The  procession  again  moves  on  in  the  direc- 
tion of  the  middle  stage,  back. 

PEOPLE  (wildly  shouting  to  one  another).  Away, 
away  to  Golgotha!  To  the  cross  with  Him!  To  the 
cross!  Hail,  Israel!  The  Enemy  is  conquered!  His 
death  is  our  happiness!  We  are  free!  Long  live  the 
Synagogue,  the  Sanhedrin! 

SUSANNA.  These  cries  pierce  to  Heaven!  [The 
women  move  away,  weeping. 

JOHN.  Mother,  shall  we  not  return  to  Bethany? 
You  will  not  be  able  to  bear  the  sight ! 

MARY  How  can  a  mother  forsake  her  child  in  his 
last  and  most  bitter  need? 

[170] 


KLEOPHA.     But  evil  and  harm  might  befall  you 
also,  if  they  recognised  you  as  His  Mother. 

MARY.    I  will  suffer  with  Him,  and  with  Him  share 
scorn  and  insult  —  yea,  with  Him  die ! 

JOHN.    If  only  the  strength  of  the  flesh  does  not 
succumb ! 

MARY.    Fear  nothing!    I  have  prayed  to  God  for 
strength!    The  Lord  has  heard  me!    Let  us  follow! 

ALL.     Best  of  mothers!     We  follow  you!     [They 
move  <wtfh  the  procession. 

END   OF   ACT 


XVI.    REPRESENTATION 

Jesus  upon  Golgotha 

The  Chorus ,  grief-stricken,  appears,  clad  in  black. 
Prologue  of  Chorus 

CHORAGUS  (Rectt.).    Ye  pious  souls,  arise  and  with 

me  go 

Unto  Golgotha  in  remorse  and  pain! 
Behold,  ye  pious  souls,  what  there  befell  — 
The  Intercessor  between  Sin  and  God 
Made  thus  to  suffer  the  atonement  death ! 

In  nakedness,  His  wounds  are  what  you  see  — 
He  yonder  lies  in  anguish  on  the  cross. 
*T  is  vengeance  wantonly  makes  sport  with  Him, 
While,  for  the  love  of  sinners,  He  is  still, 
And  shows  forgiveness,  —  suffers  and  endures. 
[171] 


Hark,  do  you  hear?    His  limbs  are  rent  and  torn, 
As  from  their  sockets  they  are  rudely  dragged! 
Who  would  not  quake  to  hear  the  hammer  strokes 
Which  cruelly  cut,  alas,  through  hands  and  feet,  — 
The  nails  through  each  limb  pressed  unerringly! 

(  There  is  heard  behind  the  curtain  a  dull,  penetrating  sound 
of  hammer  blows.) 

Oh,  come,  ye  souls,  and  raise  your  countenances, 
Unto  the  cross  compassionately  turn! 
Yonder,  behold  the  tender  Lamb  of  God, 
Who  blood  and  life  for  you  has  sacrificed ! 
Behold,  between  two  murderers  He  hangs  — 
The  Son  of  God  —  beneath  the  weight  of  scorn ! 

Would  you  not  dedicate  your  tears  to  Him? 

Behold,  how  now  He  opes  His  mouth  and  begs 

That  pardon  for  the  murderers  be  given; 

And  unto  God  He  utters  His  last  prayer, 

While  through  His  side  some  one  a  spear  has  thrust, 

Which  leaves  exposed  His  sacred  heart  to  view! 

Who  of  us  can  such  high  love  comprehend, 
Which  animates  a  tender  heart  like  this  — 
A  love  which  ever  unto  Hate  gives  Good, 
Which  for  the  world  its  life  would  sacrifice? 
Ah,  bring  to  this  Beloved  on  the  cross 
Your  heart's  clean  impulse  as  an  offering! 


[17*] 


ACT  XVI 

Jesus  is  raised  and  fastened  io  the  cross.  The  crowd  jeers 
at  Him.  Jesus'  last  words,  and  His  death.  Precau- 
tions taken  By  the  Jews  for  guarding  the  grave.  The 
burial  of  the  body  of  Jesus. 

FIRST    SCENE 

The  scene  is  set  on  the  middle  stage,  As  the  curtain  as- 
cends, the  crosses  of  the  two  thieves  are  in  the  act  of 
being  raised.  Christusf  on  His  cross,  is  still  flat  on  the 
ground.  Lictors,  executioners,  High  Priest,  Pharisees, 
people.  In  the  background,  the  holy  'women,  with 
John,  Joseph,  and  Nicodemus. 

EXECUTIONERS  (pointing  to  the  thieves,  after 
they  have  been  raised).  We  have  finished  with  these. 
Now  must  the  King  of  the  Jews  be  raised  on  His 
throne ! 

PHARISEES.    No  King,  but  a  Betrayer!    Traitor! 

CENTURION.  First,  however,  by  command  of  the 
Governor,  this  inscription  must  be  fastened  to  the 
cross.  Faustus,  put  it  on ! 

FAUSTUS.  A  sign !  Ha,  that  is  indeed  very  regal ! 
[Fastens  on  the  inscription. 

CENTURION.  Take  hold,  now,  and  raise  the 
cross !  —  Only,  not  carelessly. 

CATALINA.  Up!  Double  your  strength,  man! 
Heave  to!  [They  pull. 

[173] 


NERO.    All  right  now!    The  cross  stands  firm! 
CENTURION.    The  painful  duty  is  accomplished! 
CAIAPHAS.    And  quite  excellently  done! 
PHARISEES.     Thanks  — we  thank  you! 
PEOPLE.    Thanks  and  our  approval! 

CAIAPHAS.  For  all  times  shall  this  be  a  Feast 
day  to  us ! 

PHARISEES.  Yes,  and  most  solemnly  shall  it  be 
celebrated. 

ANNAS.  And  now  right  willingly  will  I  be  gath- 
ered unto  my  Fathers,  because  I  have  lived  long 
enough  for  the  joy  of  seeing  this  Wretch  on  the  cross ! 
What  is  the  inscription?  What  is  its  meaning?  Is  it 
not  very  short? 

RABBI  (stepping  near).  That  is  ridiculous !  Truly 
an  insult  for  us  and  for  the  people! 

CAIAPHAS.    What  is  written  thereon? 

AMAN.  The  Rabbi  is  right.  The  Council  cannot 
countenance  this! 

RABBI.  It  reads:  Jesus  of  Nazareth,  King  of  the 
Jews.  [The  four  executioners  lie  down  beneath  the  cross. 

CAIAPHAS.    Truly,  that  is  an  insult  to  our  Nation! 

PHARISEES.  The  inscription  must  go.  Tear  it 
down! 

CAIAPHAS.  We  dare  not  ourselves  lay  hands 
upon  it.  Have  patience!  (To  t<wo  Priests?)  Rabbi  and 
Saras !  Hasten  to  Pilate,  and,  in  the  name  of  the  High 

[174] 


Council  and  of  all  the  people,  demand  the  alteration 
of  this  inscription.  It  should  be  written  that  He  has 
said:  I  am  the  King  of  the  Jews.  At  the  same  time 
petition  Pilate  to  have  the  bones  of  the  crucified  broken 
before  the  eve  of  the  Feast,  and  their  bodies  taken 
from  the  crosses.  [Rabbi  and  Saras  exit. 

CATILINA.  Now,  comrades,  let  us  divide  our 
spoils!  (Takes  up  Christus*  coat  and  mantle.)  Look, 
this  mantle  can  be  divided  first.  (  The  four  executioners 
seize  the  cloth  and  tear  it  'with  a  jerk  into  four  parts.)  But 
the  coat  is  not  sewn  together.  Shall  we,  however,  cut 
it  to  pieces? 

FAUSTUS.    No,  better  throw  lots  for  it! 

AGRIPPA.  Here  are  the  dice.  I  will  try  my  luck 
immediately.  ( Throws.)  That  is  too  little.  I  have 
no  chance. 

CATILINA  (glancing  toward  Christus).  Hi  there, 
you !  If  you  can  work  any  miracle  on  the  cross,  then 
favour  my  throw!  [Throws. 

THE  OTHERS.  What  has  He  got  to  do  with  it? 
Lost! 

NERO.  Shall  I  be  more  lucky?  Fifteen!  Nearly 
enough.  Now  it  is  your  turn,  Faustus. 

FAUSTUS.    I  must  have  it!     [Throws. 

CATILINA  (examining  the  dice).  Eighteen!  That 
is  the  best! 

AGRIPPA.     It  is  yours!     Take  it  away! 
NERO.    You  are  forsooth  not  to  be  envied. 

RABBI  (returning).    Our  mission  was  in  vain. 
[175] 


SARAS.    He  would  not  hear  us! 

CAIAPHAS.    Did  you  not  receive  any  answer? 

RABBI.  This  only:  What  I  have  written  shall 
remain  as  it  was  written. 

ANNAS  (aside).    Ha!    Intolerable! 

CAIAPHAS.  And  what  instructions  did  he  give 
you  with  regard  to  the  breaking  of  the  bones? 

RABBI.  Concerning  that,  he  said  he  would  send 
his  orders  to  the  Centurion. 

JOSUE  (to  Christus).  So,  then,  it  remains  written: 
King  of  the  Jews !  Ei !  If  you  are  King  in  Israel,  then 
come  down  now  from  the  cross,  that  we  may  see  and 
believe.  [Laughter. 

ELIAZAR.  You  who  would  tear  down  the  Temple 
of  God  in  three  days,  and  would  build  it  up  again  in 
three,  help  yourself  now! 

CAIAPHAS.  Ha!  Others  has  He  helped,  but  He 
cannot  help  Himself ! 

NUN  (false Witness).  Come  down!  For  verily,  you 
are  the  Son  of  God !  Have  you  not  indeed  claimed  so  ? 

ANNAS.  He  has  trusted  in  God.  Let  God  save 
Him  now,  if  it  so  pleases  Him! 

NERO.    How?    Do  you  not  hear? 

AGRIPPA.  Show  your  power,  worthy  King  of  the 
jews! 

CHRISTUS  (whose  head  has  the  while  hung  motion- 
less, now  raises  it  with  a  look  of  unutterable  anguish) . 
Father,  forgive  them,  for  they  know  not  what  they  do ! 

[176] 


THIEF  (to  the  left).  Truly,  if  you  are  the  Saviour, 
save  yourself  now,  and  us  with  you ! 

THIEF  (to  the  right.  Speaking  to  the  other  thief). 
Do  you  not  fear  God,  since  you  are  condemned  to  the 
self-same  punishment  as  myself?  We  are  punished 
justly ;  we  are  being  rewarded  deservedly  for  the  mis- 
deeds we  have  done,  but  yonder  One  has  not  committed 
evil.  (To  Christus.)  Lord,  remember  me  when  you 
come  unto  your  Kingdom ! 

CHRISTUS.  Verily,  I  say  unto  you:  To-day  will 
you  yet  be  with  me  in  Paradise.  [Mary  and  John  draw 
near  the  cross. 

CAIAPHAS.  Listen!  He  still  acts  as  though  He 
had  power  over  Paradise! 

RABBI.  Has  His  pride  not  yet  weakened,  even 
while  He  hangs  there  helpless  on  the  cross? 

CHRISTUS  (showing  signs  of  the  end).  Mother, 
behold  your  Son!  Son,  see  your  Mother! 

MARY.  Even  in  dying,  you  yet  trouble  yourself 
about  your  Mother. 

JOHN.    Lord,  your  last  will  is  sacred  to  me! 

CHRISTUS.  You,  my  Mother,  and  I,  your  Son!  I 
thirst ! 

CENTURION.  He  suffers  thirst  and  calls  for 
drink ! 

FAUSTUS.  I  will  hand  Him  some  quickly.  [Takes 
a  pole  with  a  sponge  at  one  end,  on  which  the  Centurion 
has  poured  from  his  flask.  Christus  sips. 

CHRISTUS  (in agony).    Eli,  Eli,  lama  sabachthani! 
12  [  177  ] 


PHARISEES.    Hear,  He  calls  on  Elias! 

CAIAPHAS.  Now  we  shall  see  whether  Elias 
comes  down  to  help  Him! 

CHRISTUS  (breathing  heavily).  It  is  over!  Father, 
into  Thy  hands  my  spirit  I  commend.  [His  head  drops 
forward,  and  He  dies.  On  the  instant,  a  deafening  noise  is 
heard,  and  it  grows  suddenly  dark- 

ENAN.    What  is  that?    The  earth  shakes! 
HEBRON.     It  was  an  earthquake!     Horrible! 

AHIRA.  Hear  you  the  crash  of  falling  rocks?  Woe 
unto  us! 

ENAN.    It  is  God's  hand  upon  us! 

CENTURION.  Verily,  this  Man  was  a  righteous 
man! 

SOLDIERS.  By  this  very  sign  of  nature  the  God 
on  high  bears  Him  witness. 

CENTURION.  Oh,  His  patience  in  the  midst  of 
violent  pain  —  His  noble  calm,  His  godly  cry  to 
Heaven  at  the  moment  of  His  death  —  all  that  fore- 
shadowed something  of  His  high  origin!  Verily,  He 
is  the  Son  of  God! 

OZIEL.  Come,  neighbour;  I  will  stay  no  longer 
on  this  terrible  spot ! 

HELON.  Let  us  go  home.  God  be  merciful  unto 
us! 

OTHERS  (striking  their  breasts}-  Jehovah!  Lord! 
Almighty  God!  We  have  sinned!  Show  us  indul- 
gence! [The  people  disperse  in  remorse  and  anguish, 

[178] 


ZOROBABEL  (servant  of  the  Temple,  enters  in  haste). 
High  Priest,  and  you  members  of  the  Council !  Within 
the  Sanctuary  a  frightful  scene  has  come  to  pass. 
Alas,  I  tremble  in  every  limb! 

CAIAPHAS.    What  is  it?    Not  the  Temple  — 
ANNAS.    Fallen?     Destroyed? 

ZOROBABEL.  Not  that!  But  the  veil  of  the 
Temple  has  been  rent  asunder.  I  hastened  here  with 
faltering  steps,  dreading  the  while  that  the  whole 
world  was  split  by  the  shock. 

CAIAPHAS  (pointing  to  the  dead  Jesus).  All  this 
has  yonder  Wretch  done  to  us  through  His  magic! 
Fortunate  that  He  is  out  of  the  world,  else  would  He 
have  brought  all  the  elements  against  one  another ! 

PHARISEES.    Cursed  be  the  allies  of  Beelzebub! 

CAIAPHAS.  Let  us  now  hasten  home,  and  see 
what  has  happened.  Then  hither  will  we  immediately 
return.  For  I  cannot  rest  until  I  have  seen  that  the 
bones  of  this  fellow  are  broken,  and  that  His  body  is 
flung  into  the  grave  for  criminals.  [They  exit. 


SECOND    SCENE 

NICODEMUS  (to  Joseph  of  Arimathaea}.  Shall  the 
holy  body  of  Him  sent  by  God  be  thus  dishonoured 
and  thrown  into  the  grave  of  evil-doers?  Is  there  no 
way  to  prevent  it? 

JOSEPH.  Listen,  friend.  I  will  go  straightway 
unto  Pilate,  and  will  beg  him  fervently  to  give  unto 
me  the  dead  body  of  Jesus.  This  favour  he  will  not 

[179] 


refuse  me.    Friend,  then  we  will  render  the  last  honour 
to  our  dear  Teacher! 

NICODEMUS.  Do  that  and  make  haste!  I  will 
bring  spices  with  which  to  embalm  Him.  [They  exit. 

CENTURION  (to  the.  holy  women)-  Fear  not,  good 
women!  No  harm  shall  befall  you!  Come  forward 
and  look  upon  the  body  of  your  Friend. 

MAGDALENE  (embracing  the  cross)-  My  dearest 
Master !  My  heart  hangs  with  you  on  the  cross ! 

SERVANT  OF  PILATE  (enters  and  tarns  to  the 
Centurion).  My  Lord  commands  that  the  legs  of  the 
crucified  shall  be  broken,  and  that  then  immediately 
their  bodies  shall  be  taken  down.  Before  the  eve  of 
the  great  Feast  all  must  be  over. 

CENTURION.  It  shall  be  done  on  the  instant. 
Up  with  you,  men,  and  first  break  the  bones  of  yonder 
thieves ! 

CATILINA.  Come,  let  us  do  the  work  quickly! 
[Ascends. 

FAUSTUS.    Strike,  so  that  he  dies! 

CATILINA  (on  the  ladder,  with  blows  breaks  the 
bones  of  the  thief  on  the  right)'  This  one  will  nevermore 
awake ! 

NERO  (who  climbs  to  the  thief  on  the  left)-  The 
other  will  I  send  from  out  this  world.  [Strikes. 

MARY  (shuddering)-  My  Son!  Surely  they  would 
not  treat  your  holy  body  so  cruelly ! 

NERO  (to  the  thief  on  the  left)-  Do  you  still  move? 
No,  now  at  last  he  has  his  reward! 

[180] 


MAGDALENE  (as  the  executioner  moves  with  his 
dub  toward  Jesus'}-  Ah,  at  least  spare  Him,  spare 
Him! 

CATILINA  (looting  up  at  Jesus)'  See!  He  is 
already  dead!  No  longer  is  it  necessary  to  break  His 
bones. 

FAUSTUS.  But  that  we  may  be  quite  sure,  I  will 
pierce  His  heart  with  this  lance.  [Thrusts  the  lance  into 
the  side  of  Jesus,  and  the  blood  gushes  forth. 

THE  HOLY  WOMEN.    Ah!    Alas!    Woe! 

MAGDALENE.  Oh,  dearest  Mother!  That  stab 
also  enters  your  heart ! 

CENTURION.  Now  take  the  bodies  from  the 
cross ! 

AGRIPPA.    What  shall  we  do  with  this  One? 

CENTURION.  As  we  are  commanded  —  into  the 
grave  with  the  thieves! 

MARY.  What  words  for  the  wounded  Mother- 
heart! 

NERO.  Ladders  here!  They  will  soon  be  taken 
down. 

MAGDALENE  (going  to  the  Centurion}.  Alas! 
May  we  not  even  now  show  the  last  honours  to  our 
Friend? 

CENTURION.  Unfortunately,  it  rests  not  in  my 
power  to  grant  you  your  wish. 

FAUSTUS  (to  his  associate  on  the  lower  rung  of  the 
ladder).  Go  on  up;  I  will  hold  the  ladder. 

[181] 


CATILINA.  And  I  will  care  for  the  other.  {They 
drag  the  thieves  away- 

THIRD    SCENE 

The  Priests  return  to  Golgotha. 

CAIAPHAS  (approaching  at  the  head  of  the  Priests). 
The  more  pleasing  will  it  be  for  us  to  see  the  body  of 
this  evil-doer  thrown  into  a  shameful  grave,  after  we 
have  beheld  the  destruction  which  He  has  caused  in 
the  Temple. 

ANNAS.  Oh,  it  would  be  delight  to  my  eyes  to  see 
His  limbs  torn  asunder  by  wild  beasts ! 

CAIAPHAS.  Ha!  Look!  They  are  already  being 
taken  down.  Now  we  shall  see  our  desires  forthwith 
fulfilled. 

SERVANT  OF  PILATE  (entering  with  Joseph  of 
Arimathaea.  To  the  Centurion)  -  The  Governor  has  bid 
me  come  and  see  whether  Jesus  of  Nazareth  be  really 
dead,  even  as  this  man  informed  him. 

CENTURION.  It  is  so.  Behold  for  yourself!  To 
be  absolutely  certain,  He  was  also  pierced  through  the 
heart  with  a  lance. 

SERVANT.  Then  I  am  commanded  to  inform  you 
that  His  body  is  to  be  handed  over  to  this  man  as  a 
gift  from  Pilate.  [Exits. 

HOLY  WOMEN.     Oh,  comforting  words! 

RABBI  (looking  toward  Joseph  of  Arimathaea^.  The 
Traitor !  He  has  again  interposed  a  barrier ! 

ANNAS.    And  our  joy  spoiled ! 

[182] 


CAIAPHAS  (to  the  Centurion).  Nevertheless,  we 
will  not  allow  His  body  to  be  laid  elsewhere  than  with 
the  transgressors. 

CENTURION.  Inasmuch  as  the  body  is  given  to 
this  man,  it  is  understood  that  he  may  bury  it  how  and 
where  he  will.  No  objection  can  be  raised.  (To  the 
soldiers  and  executioners.)  You  men,  our  business  is 
at  an  end ;  we  will  return !  '[Exit. 

ANNAS  (The  following  scene  is  in  Daisenberger. 
Annas  speaks  to  Joseph  of  Arimathaea).  Do  you  still  per- 
sist in  your  terrible  sin?  Are  you  not  ashamed  to 
honour  even  the  cold  body  of  a  malefactor  who  has 
died  on  the  cross? 

JOSEPH.  I  honour  the  most  virtuous  of  men,  the 
God-sent  —  Him  who,  without  guilt,  was  murdered. 

NICODEMUS.  Envy  and  pride  were  the  motives 
prompting  His  condemnation.  The  judge  himself  was 
convinced  of  His  guiltlessness,  and  would  not  be  party 
to  the  bloody  deed. 

CAIAPHAS.  The  curse,  pronounced  by  the  holy 
Law,  will  destroy  thee,  you  enemy  of  our  Fathers ! 

RABBI.  Do  not  anger  yourself,  High  Priest !  They 
are  wholly  blind! 

CAIAPHAS.  The  curse  of  the  whole  Council  rest 
upon  you!  Honour  taken  from  you,  you  shall  never- 
more dare  enter  our  midst ! 

NICODEMUS.  That  we  do  not  wish  to  do.  [The 
High  Priest  and  Pharisees  come  forth. 

ANNAS  (scene  continues  as  in  other  versions) .  Now 
that  the  corpse  is  in  the  hands  of  friends,  we  must 

[183] 


be  on  our  guard.    For  the  false  Teacher  said,  while 
He  yet  lived,  that  in  three  days  He  would  rise  again. 

RABBI.  How  easily  could  a  new  deception  be  im- 
posed upon  us  and  the  people,  and  a  new  embarrass- 
ment be  prepared  for  us !  His  Disciples  could  secretly 
steal  His  body,  and  then  spread  the  report  that  He 
had  risen! 

CAIAPHAS.  Then  would  the  last  error  be  worse 
than  the  first.  Let  us  go  immediately  to  Pilate,  there- 
fore, and  ask  him  for  a  guard  with  which  to  watch  the 
grave  until  after  the  third  day. 

ANNAS.    A  wise  thought ! 

RABBI.     Thus  will  their  schemes  be  frustrated! 

[Exit. 

FOURTH    SCENE 
The  Descent  from  the  Cross  and  the  Burial 

MAGDALENE.  They  have  finally  gone,  the  mad- 
men! Console  yourself,  dear  Mother!  Now  are  we 
alone  with  our  friends;  the  derision  and  abuse  are 
silenced,  and  a  holy  evening  stillness  surrounds  us. 

MARY  (to  the  women).  Oh,  my  friends!  What 
my  Jesus  suffered,  this  Mother's  heart  suffered  also! 
Now  has  He  done  His  work.  He  has  entered  into  the 
rest  of  His  Fathers.  The  peace  and  comfort  of  Heaven 
are  lodged  in  my  heart.  We  shall  see  Him  again ;  for 
so  He  has  said,  and  His  word  is  Truth. 

MAGDALENE.  Yea,  we  shall  see  Him  again !  His 
word  is  Truth! 

[184] 


MARY  (to  the  men  who  took  the  bodies  from  the 
crosses) .  Bring  me  the  body  of  my  dear  Child ! 

SALOME.  Companions,  come,  help  me  get  ready 
the  linen  which  shall  hold  our  dead.  [  The  women  seal 
Mary  on  a  stone,  and  spread  out  the  winding-cloth  at  her 
feet. 

MAGDALENE.  Mother,  will  you  not  rest  here  a 
little,  until  we  have  made  ready  His  couch  for  Him? 

JOSEPH  (-taking  the  body  of  Jesus  upon  his  shoulders}. 
Oh,  you  sweet,  holy  burden,  come  to  my  shoulders! 
[Receives  the  body. 

NICODEMUS  (stretching  forth  his  arms  to  receive 
the  dead}  •  Come,  holy  body  of  my  only  Friend !  Let 
me  embrace  you!  (The  body  is  placed  so  as  to  lean 
against  Mary.)  How  the  madness  of  your  enemies  has 
lacerated  you ! 

JOHN.  Here  shall  the  best  of  sons  once  more  rest 
on  the  bosom  of  the  best  of  mothers ! 

MARY.  Oh,  my  Son,  how  your  body  is  covered 
with  wounds! 

JOHN.  Mother,  from  these  wounds  flow  salvation 
and  blessing  for  all  mankind ! 

MAGDALENE.  Behold,  Mother,  the  peace  of 
Heaven  rests  on  His  pale  countenance! 

NICODEMUS.  Let  us  anoint  His  holy  body  and 
wrap  it  in  this  clean  winding-sheet. 

JOSEPH.  Yonder  in  my  new  grave  within  the 
rocky  grotto  of  my  garden  shall  He  find  rest. 

SALOME.  Best  of  Masters!  One  more  hot  tear 
of  love  on  your  lifeless  body! 

[185] 


MAGDALENE.  Oh,  let  me  once  more  kiss  the 
hand  that  so  often  blessed  me! 

JOSEPH.  We  shall  see  Him  again.  ( To  Nicode- 
mus.)  My  friend,  help  me  bear  Him  into  the  garden. 

NICODEMUS.  A  fortunate  one  am  I,  for  I  am 
able  to  lay  the  sheath  of  Him  sent  by  God  to  rest 
[  They  bear  the  body  in  the  direction  of  the  grave. 

JOHN.  Let  us  follow  to  the  place  where  the  treas- 
ure of  our  sorrow  will  be  laid. 

MARY.  It  is  the  last  service  which  I  can  render 
to  my  Jesus.  [They  all  start;  in  the  background  is  dis- 
covered the  grave.  (See  Daisenberger,  vjho  gives  short 
stage  directions  for  the  procession  to  the  grave,  and  also 
this  short  scene:) 

ALL  (as  Joseph,  and  Nlcodemus  come  from  the  grave 
in  vjhich  they  have  placed  the  body  of  Jesus)-  Friend,  rest 
quietly  in  your  rocky  grave ! 

JOHN.  Let  us  go;  Mother,  come!  [They  pass 
through  the  garden  gate;  the  vjomen  follow. 

JOSEPH.  With  this  stone  will  we  close  the  grave. 
[  They  roll  the  stone  to  the  opening. 

NICODEMUS.  After  the  Feast  we  will  finish  our 
work  of  love! 

JOSEPH.  Come,  friend,  let  us  mourn  the  death 
of  our  beloved  Teacher. 

NICODEMUS.  Oh,  this  Man  of  Spirit  and  Truth 
—  how  did  He  deserve  such  a  fate!  [The  two  exit 
through  the  garden  gate. 

END   OF   ACT 

[186] 


XVII.    REPRESENTATION 

The  Resurrection  * 
Prologue. 

Now  all  is  over !    To  us  peace  and  joy, 

Life  and  freedom  hath  He  brought  through  death, 

While  in  the  hearts  of  those  He  saved  is  love! 

The  Holy  One  lies  buried  in  the  grave; 
His  rest  is  short,  for  His  anointed  flesh 
Defying  death  —  alive  —  shall  rise  again! 

In  three  days  Jonah  from  the  fish's  maw 
Returned,  while  safely  through  the  sea 
Engulfing  others,  moved  victorious  Israel. 

So  will  the  power  of  the  Lord  overcome 
The  darkness  of  the  tomb,  and  in  the  light 
Appear  once  more  in  godlike  excellence! 

TABLEAU :    /.  Jonah  cast  By  the  whale  upon  dry  land. 

CHORUS. f    Rest  peacefully,  Thou  holy  body, 
Within  the  stillness  of  the  rocky  grave ; 
From  burning  pain,  Thou  holy  body,  rest! 
Repose  Thou,  in  the  bosom  of  the  earth, 

*  There  are  such  differences  existing  between  the  German  ver- 
sions that  I  am  following  Daisenberger  largely  in  this  final  act. 

t  According  to  Hermine  Diemer,  after  Christus  is  laid  in. the 
grave,  "  a  funeral  chorus  bids  the  weary  soul  and  the  beloved  body 
rest  from  the  torments  of  the  past," — chanting  the  burial  song. 
Daisenberger  includes  stanzas  connecting  this  with  the  tableau; 
they  are  practically  repetitions  of  the  ideas  in  the  Prologue. 

[187] 


Until  the  hour  Thou  art  glorified! 
Never  shall  Thy  holy  body  come  to  be 
The  victim  of  the  grave  and  of  decay !  * 

TABLEAU :  2.    The  people  of  Israel  cross  the  Red  Sea; 
their  enemies  meet  'with  ruin.^ 

Great  is  the  Lord!    His  goodness  great! 
Triumph  —  the  dead  shall  rise  again ! 
The  darkness  of  the  grave  no  more  enshroud  Him, 
For  through  His  power  shall  He  soon  go  forth  I 


ACT  XVII 

Jesus  rises.  The  watch  at  the  grave  lose  self-possession. 
More  ^women  seek  the  grave*  An  angel  announces  to 
them  the  resurrection  of  Jesus,  'which  the  High  Council 
seeks  to  discountenance.  The  resurrected  One  appears 
before  Mary  Magdalene. 

FIRST    SCENE 

Garden  <with  the  Rocky  Grotto.  Titus,  Pedius,  Rufusf 
Kajus,  some  sitting  and  others  lying  around  the  Hillock 
by  the  Grave 

TITUS  (who  has  been  asleep,  wakens)  -  Brothers,  how 
is  't  with  you?  To  me  it  seems  much  too  long  to  sit 
here  thus  as  a  death  watch. 

*  Stead  and  Diemer  agree,  although  the  former  indicates  here  a 
tenor  voice  and  a  solo,  in  addition  to  the  chorus.  Trench  follows 
Daisenberger.  The  effect  of  the  repetition  is  dependent  on  the 
music  —  victory,  triumph,  and  the  greatness  and  goodness  of  the 
Lord  being  the  themes. 

t  The  verses  are  modified  —  based  on  Daisenberger. 
[188] 


RUFUS.  Show  patience ;  it  is  the  last  night.  Only 
for  three  days  was  the  watch  to  last. 

PEDIUS.    We  will  soon  be  free! 

TITUS.  Truly,  it  is  laughable  how  the  people  still 
fear  the  dead. 

RUFUS.  This  Man  of  Nazareth,  so  the  rumour 
goes,  has  said  that  on  the  third  day  He  would  return 
from  the  dead ;  hence  the  fear. 

TITUS.  If  He  is  really  such  a  superior  being,  will 
He  heed  us?  And  were  there  a  hundred  of  us,  we 
could  not  stop  Him. 

KAJUS  (who  has  been  asleep,  now  wakens)* 
Brothers,  is  not  the  night  wellnigh  over? 

TITUS.  Soon  it  will  be.  Already  in  the  east  the 
sky  begins  to  redden.  A  beautiful  spring  day  is  about 
to  smile  upon  us.  [Earthquake. 

PEDIUS  (springing  up).  Immortals!  what  a  fright- 
ful shock! 

RUFUS.  The  earth  is  splitting  asunder!  [Thunder 
and  lightning. 

TITUS.  Away  from  the  rock !  Away !  It  wavers ! 
It  crashes  in!  [An  angel  rolls  the  stone  away.  Christ 
rises. 

PEDIUS.    Ye  gods!    What  do  I  see? 

TITUS.  I  grow  blind.  Alas,  a  fire  from  Heaven 
has  seized  me !  [  They  fall  upon  their  knees,  some  cover- 
ing their  faces,  others  bowing  their  heads  to  the  earth. 

KAJUS  (after  a  while,  still  on  his  knees).  Brothers! 
What  has  befallen  us ! 

[189] 


RUFUS.    Not  an  instant  longer  will  I  remain  here! 

TITUS  (looking).  The  Apparition  has  disappeared. 
(Takes  his  weapon  and  stands  up.)  Brothers,  be  of 
courage!  We  have  naught  to  fear,  having  done  no 
\vrong.  [  They  all  stand. 

PEDIUS.  I  saw  the  figure  of  a  Man  at  the  grave; 
His  face  shone  like  the  lightning,  and  His  dress  was 
whiter  than  the  snow. 

KAJUS.  I  saw  the  figure  also.  Here  a  higher 
power  governs ! 

TITUS  (at  the  entrance  to  the  garden)-  The  garden 
gate  is  closed. 

KAJUS  (who  has  neared  the  grave)-  And  lo,  the 
stone  is  rolled  away!  The  grave  is  open!  [All  move 
toward  the  grave. 

RUFUS  (looking  within)-     I  no  longer  see  a  corpse. 

PEDIUS  (venturing  further  in}-  Here  is  the 
iwinding-sheet,  however,  which  served  as  a  covering 
for  the  body.  He  has  gone  from  the  grave ! 

TITUS.    He  must  have  risen.    No  man  came  here. 

RUFUS.  So,  what  the  priests  most  feared  has 
happened ! 

TITUS.    He  has  fulfilled  His  word! 

RUFUS.  And  we?  What  is  there  now  for  us  to 
do? 

PEDIUS.  Nothing  more.  But  let  us  hasten  and 
inform  the  Pharisees  of  what  we  Ve  seen. 

ALL.  That  we  will,  indeed!  [They  exit  toward 
Annas  Street. 


SECOND    SCENE 

Magdalene,  Salome,  Johanna,  Kleopha,  Jacobe,  the  Holy 
Women,  and  an  Angel.     They  enter  from  the  right. 

MAGDALENE.  How  joyful  my  heart  to  show  this 
honour  to  our  beloved  Teacher!  [They  hasten  toward 
the  grave,  the  Magdalene  in  advance. 

KLEOPHA.    Yet  who  will  roll  the  stone  away? 
JACOBE.    Is  it  then  so  very  big? 

SALOME.  Yes,  indeed!  Our  strength  would  not 
suffice! 

JOHANNA.  Perhaps  Joseph's  gardener  is  not  far 
away. 

MAGDALENE  (returning  quickly).  Sisters,  what 
have  I  seen!  The  Master  has  been  taken  out  of  the 
grave  —  He  has  been  taken  away  from  us !  Who 
knows  where  they  have  taken  Him? 

WOMEN.    Oh,  God! 

MAGDALENE.  I  will  hasten  to  Peter  and  John, 
and  tell  them  the  sad  news !  [Exits  weeping. 

SALOME.  Thus  is  our  last  consolation  taken 
from  us ! 

JOHANNA.     Do  not  lose  courage;    perhaps  — 

JACOBE.  If  only  the  enemies  of  the  Master  have 
not  stolen  His  body  so  as  to  inflict  further  insults 
upon  Him! 

KLEOPHA.  Let  us  see  for  ourselves!  {They  go 
to  the  grave. 

[191] 


JACOBE  (at  the  garden  entrance)-  It  is  true.  The 
stone  is  from  the  hole. 

SALOME  (looking  within).  I  do  not  see  the  holy 
body!  Oh,  oh!  What  is  it  I  do  see?  [Recoils,  terrified. 

JOHANNA.  The  clothes  are  here,  but  the  body 
is  not.  (Hastens  from  the  tomb.)  I  am  afraid! 

ANGEL  (appearing  at  the  entrance  of  the  tomb).  Fear 
not!  You  seek  Jesus  of  Nazareth,  Him  who  was  cru- 
cified? He  has  risen,  and  is  here  no  more.  Behold 
the  holy  place  where  they  laid  Him.  But  go  and  say 
unto  His  Disciples,  and  to  Peter  in  particular,  that  He 
has  gone  before  you  into  Galilee!  There  will  you  see 
Him  as  He  has  said.  [Beside  this  Angel  appear  two 
others;  then  all  three  disappear. 

JACOBE.  Oh,  I  tremble  with  fear!  We  will  go 
from  here.  [They  hasten  away. 

SALOME  (outside  the  garden)-  Now  let  me  collect 
myself,  for  I  came  near  fainting. 

KLEOPHA.  So  did  I.  Yet,  sisters,  what  a  heav- 
enly message  it  was  to  us!  The  Lord  is  risen!  We 
shall  see  Him  alive  again  in  Galilee ! 

JOHANNA.  My  fear  has  gone!  In  rapture  beats 
my  heart.  He  lives  again.  Friends,  bethink  you !  He 
lives !  Our  dear  Teacher !  [  They  are  excited.  Johanna 
embraces  Kleopha. 

JACOBE.  Sisters,  let  us  hasten  to  announce  the 
Angel's  message  to  the  Disciples ! 

KLEOPHA.  All  our  sadness  has  been  turned  to 
joy! 

ALL.    And  no  one  can  take  it  from  us!    [They  exit. 
[192] 


THIRD   SCENE 

Caiaphas,   Annas,   Rabbi,   the    Pharisees,   and   the    four 
guards.     They  enter  from  the  left. 

CAIAPHAS.  It  is  impossible  to  keep  back  what 
the  watchers  have  told  us.  (Goes  quickly  to  the 
grave.)  Yes,  truly,  the  stone  is  rolled  away;  the 
grave  is  empty! 

ANNAS.  It  is  not  unlikely  that  some  people  came 
here. 

^  CAIAPHAS    (to  the  watch).    How  did  it  happen? 
Confess,  or  the  worst  punishment  awaits  you! 

TITUS.  As  we  told  you,  so  did  it  happen.  We 
can  tell  you  nothing  more. 

PHARISEES.    You  lie! 

RUFUS.  How  do  you  think  it  possible  for  any 
one  to  come  here?  The  garden  gate  was  closed  and 
we  sat  around  the  grave. 

CAIAPHAS.    You  are  all  confederates  in  this! 
ANNAS.    You  have  been  bribed! 

WATCHERS.  What?  You  would  question  our 
honour!  We  will  not  have  such  slander  put  upon  us. 

ANNAS.  Why  did  you  not  immediately  raise  an 
alarm? 

PEDIUS.  How  could  we,  when  a  thunderbolt  laid 
us  low! 

CAIAPHAS.  You  say  this  only  to  escape  punish- 
ment. 

X3  [193] 


RUFUS.  Ha!  You  might  say  that  to  a  Jewish 
soldier,  but  a  Roman  will  not  slip  out  by  lying ! 

WATCHERS.  We  will  complain  before  Pilate, 
demanding  satisfaction  for  such  insult. 

CAIAPHAS.    Tell  us:  where  is  the  body  now? 
RUFUS.    We  do  not  know. 
TITUS.    He  rose,  as  you  feared. 

CAIAPHAS.  Be  silent  with  your  Resurrection 
tale! 

PEDIUS.  Even  though  you  do  not  believe  it,  still 
is  it  none  the  less  true !  I  tell  what  I  myself  saw. 

ANNAS.  Now,  what  did  you  see?  Perchance  the 
Disciples  who  stole  His  body? 

PEDIUS.  No,  on  my  honour!  I  saw  Him  rising 
from  the  grave.  The  light  which  shone  around  Him 
struck  me  low. 

TITUS.    We  will  go  to  Pilate ;  he  shall  decide. 

RUFUS.  And  over  all  Jerusalem  shall  the  news 
be  published  — 

PEDIUS.    That  He  has  risen! 

CAIAPHAS  (aside  to  the  Pharisees}-  We  must 
prevent  any  such  move.  (To  the  watch.)  Believe 
what  you  will;  but  it  is  best  for  us  that  the  story  be 
not  spread  abroad.  Your  silence  will  be  adequately 
rewarded. 

RUFUS.  Even  though  we  remain  silent,  it  will 
still  become  known  that  the  body  is  no  longer  to  be 
found  in  the  grave. 

[194] 


TITUS.    Pilate  would  call  us  to  account. 
ANNAS.    Leave  that  to  us ! 

CAIAPHAS   (showing  them  a  full  parse)-     See  this 
gold!    It  will  all  be  given  for  your  silence! 

PHARISEES.     Take  it,  and  leave  it  to  the  High 
Council  to  settle  the  affair. 

ANNAS.    We  will  stand  by  you  before  Pilate. 

TITUS  (to  his  companions).    They  only  ask  silence 
of  us.    That  we  can  give ! 

WATCH.    We '11  do  it! 

CAIAPHAS    (handing    over    the    purse    to    Titus). 
Mark  you:    deep  silence! 

RUFUS.    But  if  one  should  question  us? 

CAIAPHAS.     Then  say  this  only:    The  Disciples 
came  while  we  slept  and  stole  Him  from  the  grave. 

TITUS.    No!    Take  back  your  money! 

PHARISEES.     Nothing  will   be  done   to   punish 
you. 

CAIAPHAS.     I  promise  you  in  the  name  of  the 
whole  Council! 

PEDIUS.    Well,  if  you  will  promise  that,  then  we 
will  do  it. 

PHARISEES.    Fear  nothing! 
CAIAPHAS.    Now  then:  be  silent! 

THE   WATCH.    We  will.     [They  exit. 

[195] 


CAIAPHAS  (to  the  Pharisees).  Now,  friends,  let 
us  take  care  to  spread  among  the  people  the  report 
that  the  body  has  been  stolen  by  His  Disciples. 

ANNAS.    This  Man  gives  us  trouble,  even  in  death ! 

NATHANAEL.  And  must  something  always 
intervene,  that  we  cannot  rejoice  in  our  victory 
undisturbed? 

CAIAPHAS.  Do  not  grieve  over  this!  The  best 
is  won!  Our  Enemy  is  dead!  Let  His  body  rest 
where  it  will!  A  short  time  hence  —  and  the  name 
of  this  Nazarene  will  be  forgotten  —  or  uttered  only 
with  insult,  as  an  evil-doer  who  was  crucified.  His 
work  is  at  an  end! 

PHARISEES.  Hail  to  the  Synagogue!  At  an  end 
is  the  work  of  our  Enemy!  [They  exit  with  haughty 
confidence. 


FOURTH    SCENE 

John,  followed  shortly  by  Peter  and  the  Magdalene.     Then 
Christ  and  an  Angel 

JOHN  (enters  from  the  right}.  I  must  convince 
myself  whether  or  no  Mary  has  rightly  told  us.  (He 
goes  quickly  to  the  gra<ve  and,  stooping,  looks  within.) 
Truly,  the  body  has  disappeared!  Still,  the  clothes 
are  there. 

PETER  (coming  with  the  Magdalene)-  Is  it  so? 
Have  you  already  been  in  the  rocky  grave? 

JOHN.  It  is  empty!  I  have  looked  within;  but 
a  godly  fear  prevents  me  from  entering ! 

[196] 


PETER.  We  must  examine  closer.  (Goes  info  the 
grave,  but  immediately  returns  to  the  entrance.)  See  for 
yourself,  John;  see  how  orderly  the  linen  clothes  lie 
within.  The  head  cloth  is  laid,  separated  from  the 
others.  [John  enters. 

MAGDALENE.  Alas!  where  is  my  Friend?  Shall 
I  not  even  see  His  body  again? 

PETER  (coming  out  'with  John).  If  the  enemy  had 
carried  Him  off,  then  they  would  have  taken  Him  as 
He  was,  wrapped  in  linen. 

JOHN.  And  had  they  dragged  the  body  about,  the 
linen  would  certainly  be  strewn  around  the  place. 

PETER.  But  everything  is  very  orderly,  as  though 
some  one  had  risen  from  a  sleep  and  laid  his  night 
raiment  in  order. 

JOHN.  Simon,  what  presentiment  your  speech 
awakens  in  me!  Perchance  the  Lord  has  risen  from 
death,  as  though  from  a  gentle  sleep.  Yes,  I  believe 
it!  He  who  called  forth  Lazarus,  could  He  not  like- 
wise bring  Himself  from  the  grave?  And  did  He  not 
prophesy  to  us  that  on  the  third  day  the  Son  of  Man 
would  —  Oh,  Simon,  to-day  is  the  third  day ! 

PETER.    My  God!    If  it  were  so! 

JOHN.  I  do  not  doubt  it!  We  shall  soon  see  Him 
again ! 

PETER.  John,  let  us  go  to  our  Brothers,  and  im- 
part to  them  what  we  here  have  seen!  (To  the  Mag- 
dalene.) Mary,  will  you  not  come  with  us? 

MAGDALENE.  Leave  me  here !  Oh,  let  me  grieve 
alone!  Let  me  weep!  I  cannot  stir  from  this  place 
until  I  have  satisfied  my  heart's  need! 

[197] 


PETER.  Do  not  stay  long.  In  Mark's  house  you 
will  find  us.  [Exits  with  John. 

MAGDALENE.  Now,  my  tears,  have  your  way! 
To  weep  is  the  only  consolation  for  a  heavy  heart. 
[  Weeping  violently,  she  rests  her  head  upon  the  rock  at  the 
entrance. 

ANGEL  (appearing,  after  a  while,  inside  the  entrance). 
Woman,  why  weep  you? 

MAGDALENE.  They  have  taken  away  my  Lord. 
I  know  not  where  they  have  put  Him.  [Turns,  weep- 
ing, from  the  grave. 

CHRISTUS  (appears  on  the  side  of  the  hillock, 
between  trees).  Oh,  woman,  why  weep  you?  Whom 
seek  you? 

MAGDALENE.  If  you  have  taken  Him  away,  then 
tell  me  where  you  have  put  Him. 

CHRISTUS.     Mary! 

MAGDALENE.  Oh,  that  is  His  voice!  (Hastens to 
Him,  and  falls  before  Him.)  Rabbi!  [Would  embrace 
His  knees. 

CHRISTUS.  Do  not  stop  me!  Not  yet  have  I 
entered  unto  my  Father.  But  hasten  and  say  to 
my  Brothers :  I  go  to  my  Father  and  to  your  Father ; 
to  my  God  and  to  your  God! 

MAGDALENE  (bending low) .  My  dearest  Teacher! 
(Looks  up.)  He  has  disappeared.  (Stands,  full  of 
rapture.)  Still,  I  have  seen  Him!  I  have  heard  His 
dear  voice !  Oh,  blessed  sight !  Away  from  me,  grief ! 
The  ecstasy  of  Paradise  fills  my  soul !  Ah,  as  though 
borne  on  wings,  I  will  hasten  to  His  Disciples,  and  tell 

[198] 


them  of  the  Resurrection,  and  give  them  greetings 
from  their  Lord !  Oh,  could  I  proclaim  it  through  the 
whole  world,  that  mountain  and  vale,  and  rocks  and 
woods,  and  heaven  and  earth  might  resound  with  the 
tidings:  Hallelujah!  He  has  risen!  [As  she  exits,  an 
echo  comes  from  every  side  :  "  Hallelujah  I  He  has  risen  I" 


CLOSING   SCENE* 

Hallelujah 
Prologue 

The  Christ  is  risen!    Rejoice,  ye  heavens! 
The  Christ  is  risen!    Rejoice,  ye  mortals! 
The  lordly  leader  of  the  Tribe  of  Judah 
The  serpent's  head  'neath  His  heel  has  crushed! 

Firm  stand  the  faithful,  while  hope  the  happiest 
Within  us  wakens,  through  sign  and  token 
Of  our  future  —  our  resurrection! 
In  jubilation  cry:  "  Hallelujah!  " 

We  saw  Him  enter  into  Jerusalem, 
Weighed  down  and  humble,  humiliated! 
Ah,  let  us  witness,  before  we  leave  here, 
The  Christ  victorious,  the  Christ  triumphant! 

He  now  approaches  glorification, 

With  regal  power  enters  Jerusalem, 

Where  He  will  gather  unto  His  person 

Those  whom  His  Passion  hath  saved  from  sin! 

*  German  text,  as  given  in  Stead. 
[I99l 


With  such  divine  love,  with  spirit  strengthened, 
Oh,  friends,  turn  homeward,  your  joy  renewed 
For  Him  who  loved  you  in  all  His  trials, 
Throughout  His  Passion  —  through  time  eternal! 

And  round  the  Saviour,  where  sounds  the  chorus, 
"The  Lamb  be  praised,  which  once  was  offered" — 
Oh,  let  us  gather  within  the  future, 
Oh,  let  us  gather  and  meet  again! 

HALLELUJAH  CHORUS.*  The  might  of  the 
enemy  He  hath  overcome,  yea,  hath  He  overcome !  In 
the  shadow  of  the  grave  new  life  hath  He  found !  Sing 
unto  Him  songs  of  jubilation,  before  Him  strew  palms 
of  victory!  The  Lord  is  risen!  Shout  unto  Him,  ye 
heavens  above!  Praise  Him,  ye  earth  below!  Halle- 
lujah unto  the  Resurrected!  Hallelujah! 

Adore  ye  the  Saviour!  The  Lamb  who  was  slain! 
Hallelujah!  Him  who  from  the  grave  ascends  vic- 
torious to  life  on  high !  Hallelujah !  Hallelujah !  He 
hath  conquered ! 

Praise  Him,  the  Victor  over  death!  Him  who  on 
Gabbatha  was  condemned!  Praise  Him,  the  Saviour 
of  all  Sinners,  who  for  us  on  Golgotha  died!  Praise 
Him!  Hallelujah!  Hallelujah!  He  hath  conquered! 

Let  us  unto  the  Victor  bring  leaves  of  bay!  Unto 
Him  who  is  resurrected  and  eternal  lives !  Unto  Him 
who  from  the  grave  ascends  to  life  on  high!  Halle- 
lujah! Hallelujah!  He  hath  conquered! 

*  In  the  original  this  is  in  verse ;  it  is  largely  repetition,  and  is 
here,  for  the  sake  of  spontaneous  effect,  done  into  prose. 

[200] 


Ye  heavenly  hosts,  your  praises  bring,  your  praises 
sing !  Excellence  be  unto  the  Lord !  And  glory  be  and 
power  evermore!  Honour  unto  the  Lord  from  eter- 
nity unto  eternity  without  end!  Hallelujah!  Halle- 
lujah! He  hath  conquered! 

{The  closing  tableau  represents  Christ's  Ascension,  as  He 
stands  on  the  Mount  of  Olives,  surrounded  by  His  Dis- 
ciples and  the  holy  cwomen^\ 

THE   END 


[aoi] 


BIBLIOGRAPHY 


BIBLIOGRAPHY 

BEING    A    PARTIAL    LIST    OF    BOOKS    AND    MAGAZINE 
ARTICLES  RELATING  TO   PASSION   PLAYS  GEN- 
ERALLY AND   TO   THE   OBERAMMERGAU 
PASSION   PLAY  IN   ESPECIAL. 

Titles  printed  in  Italic  type  refer  to  magazine  articles. 

America,  'Passion  *Play  in 

Donahoe(1895),34:978 

American  Indian  Passion  Play 
Putnam's  Jtfonthly,  5 :  294 

American  Passion  Play 

The    Penitentes    (Novel).     Louis    How   (Bobbs- 
Merrill). 

Augsburger  Passionsspiel  aus  Sanct.  Ulrich  und  Afra. 
[Text.]  In  Hof-  und  Staatsbibliothek  zu  Miinchen. 
Cod.  germ.  4370.  Quarto. 

Bancroft,  Marie  and  Squire 

Recollections  of  Sixty  Years.     Button,   1909.   [p. 
298  seq.] 

[205] 


Berneck,  M.  Koch  von 

Das  grosse  Versohnungsopfer  auf  Golgotha;  oder, 
die  Leidens-  und  Todesgeschichte  Jesu.  .  .  .  Auf- 
gefuhrt  zu  Oberammergau. 

— —  Guide  to  Oberammergau  and  the  Passion  Play  of 
1890.  Translated  by  Charles  Holland  and  J.  A. 
Swallow.  Munich,  1890. 

Bibliographic  der  deutschen  Zeitschriften-Literatur 
mit  Einschluss  von  Sammelwerken  und  Zeitungs- 
beilagen.  [This  publication,  on  the  order  of  Poole's 
Index,  contains  innumerable  references  under  Pas- 
sion  Play  and  Oberammergau. 

Blackburn,  Henry 

The  Oberammergau  Passion  Play.  Art  in  the 
Mountains.  The  Story  of  the  Passion  Play.  With 
an  Appendix.  London,  1880. 

Blondel,  Georges 

Le  Drame  de  la  Passion  a  Oberammergau :  Etude 
historique  et  critique,  avec  des  Renseignements 
pratiques.  Paris,  1900.  [Maps  and  plans.] 

Brixlegg,  Passion  Play  at 
All  the  Year,  20. -397 
Independent,  55 :  2396 

Boston  Public  Library  Bulletin 

1881,  Vol.  IV.  p.  244.    List  of  titles. 

Braun,  Placidus 

Notitia  historico-literaria  de  codicibus  manuscriptis 
in  bibliotheca  liberi  ac  imperialis  Monasterii  ordinis 
S.  Benedicti  ad  S.  Udalricum  et  Afram  Augustae 
extantibus.  (Augustae  Vindelicorum,  1796.)  Vol. 
VI.  p.  no. 

Geschichte  der  Bischofe  von  Augsburg.    I:   416. 

[206] 


Bremond,  Henri 

Oberammergau  et  le  Drame  de  la  Passion.  (Etudes 
pub.  par  d.  Peres  de  la  Compagnie  de  Jesus  —  Vol. 
LXXXIV.  pp.  160-180.)  Paris,  1900. 

Browne,  William  H. 

Synopsis  of  the  Passion  Play  of  Oberammergau. 
Philadelphia,  1880. 

Buckland,  A.  W. 

Ober  Ammergau  and  its  People,  in  connection  with 
the  Passion  Play  and  Miracle  Plays  in  general. 
[A  paper  read  before  the  Bath  Literary  and  Philo- 
sophical Association,  Jan.  12,  1872.]  London,  1872. 

Burton 

Passion  Play  at  Oberammergau.  [Introduction  by 
Wilkins.]  1902. 

Childe,  Mrs.  Edward 

English  Words  of  the  Passion  Play  at  Oberammer- 
gau. London,  1871,  1880. 

Christianity,  Symbolic,  and  the  Passion  Play.   R.  St.  J.  Tyrwhitt 
Contemp.(1871),  18:234 

Clarus,  Ludwig  [See  Volk,  W.  G.  W.] 

Das  Passionsspiel  zu  Ober- Ammergau.  Munchen, 
1860,  1880. 

Creizenach,  Wilhelm 

Geschichte  des  neueren  Dramas  (Halle  A.  S.  ver- 
lag  von  Max  Niemeyer)  [Vol.  I.  —  Mittelalter  und 
Friihrenaissance  (1893);  Vol.  II.  —  Renaissance 
und  Reformation  (1901);  Vol.  III.  —  Renaissance 
und  Reformation  (1903)]. 
[207] 


Daisenberger,  Joseph  Aloys 

Bericht  iiber  das  Passionsspiel  zu  Oberammergau 
im  Jahre  1850.  [In  Beytragen  zur  Geschichte, 
Topographic  und  Statistik  des  Erzbisthums. 
Miinchen  und  Freysing.  Bd.  II.,  1851.]  [Deut- 
inger's  Collection  of  Reports.] 

— -  Geschichte  des  Dorfes  Oberammergau.  [In  Ober- 
bayerischen  Archiv.  fur  vaterlandische  Geschichte. 
Bd.  XX.,  1858.  Miinchen.]  [See  also  Bd.  VIII.] 

Offizieller    Gesammt-Text   des   Oberammergauer 

Passions-Spieles.  Zum  ersten  Male  nach  dem  Man- 
uskripte  .  .  .  im  Druck  veroffentlicht  .  .  .  Ober- 
ammergau, 1900. 

Deutinger,  Martin  von  (Editor) 

Das  Passionsspiel  in  Oberammergau.  Berichte  und 
Urtheile  iiber  dasselbe.  Miinchen,  1851. 

Devrient,  Eduard 

Geschichte  der  deutschen  Schauspiel-kunst.  Vol. 
I.  —  Geschichte  der  Mittelalterlichen  Schauspiel- 
kunst.  Leipzig,  1848. 

Das  Passionsschauspiel   in   Oberammergau   und 
seine  Bedeutung  fiir  die  neue  Zeit.    Leipzig,  1851. 

—  Ueber  das  Passionsspiel  im  Dorfe  Ober-Ammer- 
gau.  Leipzig,  1880. 

Diemer,  H.  (geb.  von  Hillern) 

Oberammergau  und  seine  Passionsspiele.  Ein 
Riickblick  uber  die  Geschichte  Oberammergau  u. 
seiner  Passionsspiele  ...  so  wie  eine  Beschreib- 
ung  des  Ammergauer  Landes.  .  .  .  Miinchen,  1900. 
[An  English  translation  made  by  Walter  S. 
Manning.] 

[208] 


Doane,  G.  H. 

To  and  from  the  Passion  Play,  in  the  Summer  of 
1871.  Boston,  1872. 

Drew,  Mary  Frances 

The  Passion  Play  of  Ober-Ammergau.  Translated 
from  the  German.  London,  1881. 

Dubbers,  W. 

Das  Oberammergauer  Passionsspiel  nach  seiner  ge- 
schichtlichen,  kunstlerischen,  ethischen  und  cultur- 
historischen  Bedeutung  und  unter  Beriicksichtig- 
ung  alterer  und  neuerer  Kritik  dargestellt  von. 
Frankfurt  a.  M.,  1872. 

Du  Meril,  Edelstand  Pontas 

Les  Origines  latines  du  Theatre  moderne.  Paris, 
1897. 

Eibesthal,  Religious  Dramas  at 

Harper's  Weekly,  46  :  1630,  1653 
Independent,  52 :  1672 

Espagne,  Le  Drame  Religieux 

Revue  de  Paris  (1900),  pp.  821-872 

Farrar,  F.  W.,  D.  D.,  F.  R.  S. 

The  Passion  Play  at  Oberammergau.  London, 
1890. 

Fastenrach,  J. 

Pasionarias  de  un  Aleman-Espanol.    Madrid,  1872. 

Froning,  Richard 

Das   Drama  des  Mittelalters.     Erster  Teil.     Die 
lateinischen   Osterfeiern   in   Deutschland.     Oster- 
spiele;   Passionsspiele.    Stuttgart,  1891. 
14  [ 209  ] 


Gautier,  Leon 

Histoire  de  la  Poesie  liturgique  au  Moyen  Age: 
Les  Tropes.  Paris,  1886. 

Gayley,  Charles  Mills 

Plays  of  our  Forefathers:  and  some  of  the  tradi- 
tions upon  which  they  were  founded.  New 
York,  1907.  [A  more  popular  treatment  than 
that  by  Chambers  in  "  Mediaeval  Stage  " ;  excellent 
illustrations.] 

Gorres,  Guido 

Report   of  the   Oberammergau   Play.      [Historisch- 

politischen  Blattem,  Vol.  VI.,  1840.] 
Das  Theater  im  Mittelalter  und  das  Passionsspiel 

in  Oberammergau.   1840.    [Deutinger's  Collection.] 

Graetorex,  Eliza 

A  series  of  twenty  etchings  in  phototypes  from  the 
original.  With  notes  of  a  Diary  kept  during  a  three 
months'  residence  in  Oberammergau.  Munich, 
1871. 

Hartmann,  August 

Das  Oberammergauer  Passionsspiel  in  seiner  alt- 
esten  Gestalt.  Zum  ersten  Male  herausgegeben. 
Leipzig,  1880.  [Contains  excellent  bibliographical 
notes.] 

Hase,  Dr.  Karl 

Miracle  Plays  and  Sacred  Dramas:  An  Historical 
Survey.  Translated  by  A.  W.  Jackson.  1880. 

Havana,  Passion  Play  in 
St.  James,  46 :  424 

[210] 


Hay 

Oberammergau  and  its  great  Passion  Drama  of 
1900.  1902. 

Holland,  Dr.  Hyacinth 

Das  Ammergauer  Passionsspiel  im  Jahre  1870. 
Munich,  1871. 

Die   Entwickelung   des   deutschen   Theaters   im 

Mittelalter  und  das  Ammergauer  Passionsspiel. 
Munich,  1871. 

Howitt- Watts,  Mrs. 

An  Art  Student  in  Munich.  London  and  Boston, 
1854.  [Chapter  IV.  —  An  Account  of  the  Passion 
Play.] 

Hrotsvitha,  Theatre  de 

Religieuse  Allemande  du  Xf  Siecle  (en  Fran9ais) 
avec  le  Texte  latin.  Revue  sur  le  Manuscrit  de 
Munich.  (Introduction  and  notes.)  Charles  Mag- 
nin  [ed.].  Paris,  1845. 

Huyssen 

Ammergauer  Passions  Festspiel.    1890. 

Italian  Lakes,  Passion  Play  on  the 
Macmillan,  60 :  44 
Lto.Age,  181 : 562 

Jackson,  J.  P. 

The  Album  of  the  Passion  Play.    1873. 

The  Ober-Ammergau  Passion  Play:    giving  the 

origin  of  the  play,  and  history  of  the  village  and 
people,  a  description  of  the  scenes  and  tableaux  of 
the  drama,  and  the  songs  of  the  Chorus,  in  German 
and  English.    London,  1880. 
[an] 


Julleville,  Louis  Petit  de 

Histoire  du  Theatre  en  France  au  Moyen  Age: 
Les  Mysteres.  [2  vols.]  Paris,  1880. 

—  Histoire  de  la  Langue  et  de  la  Litterature  Fran- 
caise  des  Origines  a  1900.    [7  vols.]    Paris,  1896-99. 

Klein,  J.  L. 

Geschichte  des  Dramas  [13  vols,]  Leipzig,  1865- 
76.  [Vol.  II.  —  Das  Drama  der  Romer;  Vol.  III. 
—  Das  aussereuropaische  Drama  und  die  latein. 
Schauspiele  n.  Chr.  bis  ende  d.  X  Jahrhunderts ; 
Vols.  XII.,  XIII.  —  Das  Englische  Drama.] 

Kreuzschule,  Passion  Piety  of  the 
Lippincott,  17 :  125 

Lampert 

Oberammergau  und  sein  Passionsspiel.    1890. 

Lange,  Carl 

Die  lateinischen  Osterfeiern;  Untersuchungen 
u'ber  den  Ursprung  und  die  Entwickelung  der 
liturgisch-dramatischen  Auferstehungsfeier.  Miin- 
chen,  1887. 

Ludwig,  D.  A. 

Oberammergau  Passionsspiel.    1891. 

McSherry,  Richard  Meredith 

Essays.  Baltimore,  1897.  [The  volume  is  called 
"  The  National  Medals  of  the  United  States,  and 
Essays  and  Addresses."  The  Passion  Play  at  Ober 
Ammergau.] 

MacColl,  Malcolm 

The  Ober  Ammergau  Passion  Play.  With  remarks 
on  the  origin  and  development  of  Miracle  Plays. 
| Appendix.]  London,  1880. 

[aia] 


Mantzius,  Karl 

A  History  of  Theatrical  Art  in  Ancient  and  Modern 
Times.  [Translated  by  Louise  von  Cossel;  see 
Greek  Theatre,  Roman  Theatre,  Ecclesiastical 
Plays,  Secular  Plays.  A  four-volume  work  of  value, 
with  bibliographies.]  London,  1903,  1904,  1905. 

Mexican  Indian  Passion  Play 

Overland,  n.  s.  (1901),  37:  817 

Milchsack,  Gustav 

Die  Oster-  und  Passionsspiele :  [Vol.  I.]  Die  la- 
teinischen  Osterfeiern.  Wolfenbuttel,  1880. 

— —  Heidelberger  Passionsspiel.    Tubingen,  1880. 

Mone,  Franz  Joseph 

Schauspiele  des  Mittelalters.  [2  Bde.]  Karlsruhe, 
1846. 

Moses,  Montrose  J. 

Everyman.  Ed.  with  an  Introduction.  [Contains 
a  Bibliography  of  the  Early  Religious  Drama.] 
New  York,  1908. 

Oberammergau 

La  Nouvelle  Revue,  Oct.,  1900,  pp.  414-427.    (Eugene 

More.) 
Nineteenth  Century,  48 :  820 

Oberammergau  and  its  Passion  Play  in  1900.  Wilfrid  Dai- 
low.  Irish  Ecclesiastical  Record,  Ser.  4,  Vol.  IX.  pp.  63- 
82.  Dublin,  1901. 

Passion  Play.      1860 

Macmittan,  2 : 463 
Liv.  Age,  67 : 482 

[213] 


Passion  Play.     1870 

Harper,  42 :  174 
1880 

Theatre,  1 :  255 
Century,  3  :  663,  913 
Nation,  31 :  110 
1900 

Nation,  71  :  67 
Atlantic,  86:409 
Forum,  29:545 
Harper's  Weekly,  44 :  1020 
Independent,  52 :  2361 

Passionsspiel 

Das  Passions  Schauspiel  in  Oberammergau.    Augs- 
burg, 1880. 

Passion  Play,  The  — A  Study  and  an  Appreciation 
Church  Quar.  Rev.  (1900),  51 :  179-207. 

Passion  Play 

Blackwood,  106:671 

Liv.  Age,  104 :  142 

Blackwood,  107:381 

Revue  des  Deux  Mondes,  July  I,  1868 

Liv.  Age,  226 :  295 

Theatre,  25 :  1 

Pence,  James  Henry 

The  Magazine  and  the  Drama:  An  Index.  Dunlap 
Society,  1896.  [Consult  under  Passion  Play.] 

Perry,  W.  S.  (Bishop) 

Ober  Ammergau  in  1875  and  1880.  New  York, 
1881.  [Also  published  in  American  Church  Review, 
July,  1881,  no.  134,  pp.  1-19.] 


Persian  Passion  Play 

Comhill,  24  :  668,  Matthew  Arnold  [in  his  "Essays  in 

Criticism/'  First  Series,  1898} . 
Contemp.,  94  :  41 3 
19th  Cent.,  51  :  581 
Harper,  72 :  460 

Pollock,  Charming 

Behold  the  Man;  being  a  novel  dealing  with  the 
dual  personalities  of  the  peasants  who  appear  in  the 
sacred  performance  at  Oberammergau.  New  York, 
1905. 

Prechtl,  J.  B.  [Teacher  in  Unter-Ammergau] 
Das  Passionsspiel  zu  Oberammergau 
Oberbayerischen  Archiv  (1859-61),  Ed.  XXII.  100 

Prolss,  Karl  Robert 

Geschichte  des  neueren  Dramas.  [3  vols.]  Leip- 
zig, 1880,  1881,  1883. 

Remade,  /.,  Valid 

Oberammergau.     [Paris,  1900.] 

La  semaine  religieuse  de  Paris  (1900),  XCIV. 

Resurrection,  La 

Monmercjue  et  Michel.  —  Theatre  Francais  au 
Moyen  Age  [pp.  10-20].  Paris,  1879. 

Roberts,  Elizabeth  H.  B. 

Oberammergau  Peasants  and  their  Passion  Play. 
1901. 

Roy,  Emile 

Les  Mysteres  de  la  Passion  en  France  au  XIV?  au 
XVI?  Siecle.  (Revue  Bourguignonne-Universite 
de  Dijon,  1903,  Vol.  XIII.  nos.  3-4.)  [In  the  sec- 
ond part,  Vol.  XIV.,  1904,  nos.  3-4,  the  author  con- 


siders  "  La  Theologie  et  le  Developpement  du  Mys- 
tere  de  la  Passion  au  XV?  Siecle."] 

San  Francisco,  Passion  Play  in 
Theatre,  79,  /  :  213 

Schoberl,  F. 

Das  Oberammergauer  Passions-Spiel  mit  den  Pas- 
sionsbildern  v.  A.  Diirer.  1870. 

Schonbach 

Ueber  die  Marienklagen.    Graz,  1874. 

Seguin 

Country  of  the  Passion  Play.    1890. 

Sellar,  Alexander  Craig 

The  Passion  Play  in  the  Highlands  of  Bavaria. 
Edinburgh,  1871. 

Snively,  Rev.  W.  A. 

The  Ober-Ammergau  Passion  Play  of  1880.  Pott, 
1881. 

Stanley,  A.  P. 

The  Ammergau  Mystery;  or,  Sacred  Drama  of 
1860.  [In  his  Essays.]  1870. 

Stead,  William  T. 

The  Passion  Play  at  Oberammergau.  The  Com- 
plete Text  of  the  Play  with  English  Translation. 
London,  1900. 

The  Crucifixion.   [Founded  on  the  Oberammergau 

Passion  Play.]     Chicago,  1900. 

Stern,  (F.)  A.,(E.),  called 

Oberammergauer  Passionsspiel  (1871).  [In  his 
Wanderbuch,  1877.] 

[ax6] 


Tautphceus,  Baroness  von 

Quits.  [A  Novel.]  1863.  [Chap.  XVIII.  — A 
Remnant  of  the  Middle  Ages.] 

Text 

Das  grosse  versohnungsopfer  auf  Golgotha;  oder, 
die  leidens-  und  todes-geschichte  Jesu  aufgefuhrt 
zu  Oberammergau.  Landshut,  1840. 

Text 

Das  grosse  versohnungsopfer  auf  Golgotha;  oder, 
die  leidens-  und  todes-geschichte  Jesu  nach  den 
vier  Evangelisten  mit  bildlichen  Vorstellungen  aus 
dem  alten  Bunde  zu  Betrachtung  und  Erbauung  zu 
Oberammergau.  [1850,  1860,  1890.] 

Trautmann,  Karl 

Oberammergau  und  sein  Passionsspiel.  Bamberg, 
1890.  [Bayerische  bibliothek.] 

Trench,  Maria 

The  Passion  Play  at  Ober-Ammergau.  Translated 
into  English,  and  the  songs  of  the  Chorus  in  Ger- 
man and  English,  with  a  history  of  the  play.  Lon- 
don, 1900.  [Originally  published  under  the  pseu- 
donym "  Charles  Lowder,"  1890.] 

Tweedie 

Oberammergau  Passion  Play.    1890. 

Tyroler  Passionsspiel  des  Mittelalters 
Schmidt-Wartenberg,  H.  M. 

Mod.  Lang.  Pub.  5  (1890),  I -IX.  I,  24, 

[MS.  Cornell  University.] 
H.  W.  Mabie 

Outlook*  76:  341 


Volk,  W.  G.  W. 

Das  Passionsspiel  zu  Oberammergau.  Von  Lud- 
wig  Clarus.  [Pseudo.]  Munchen,  1880. 

Von  Hillern,  Wilhelmine 
Am  Kreuz.     [A  Novel.] 

Vorder-Thiersee,  The  'Passion  Way  at 

Annie  S.  Peck.     Century  (1895-6),  51  :  163 
J.  H.  McMahon.    Catb.  World,  43 :  289 

Wild,  Sebastian 

Passionsspiel.  [In  Kreis-  und  Stadtbibliothek  zu 
Augsburg.  See  Hartmann.] 

Wirth,  Ludwig 

Die  Oster-  und  Passionsspiele  bis  zum  XVI  Jahr- 
hundert  Beitrage  zur  Geschichte  des  deutschen 
Dramas.  1889. 

Wyl 

Christus-Mayr. 
—  Maitage  in  Ober-Ammergau. 


[218] 


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